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BY
ALBERT HASTINGS PITKIN
Curator of Wadsworth Atheneum and Morgan Memorial Hartford Conn.
Member of the Connecticut Historical Society
Member of the Walpole Society
Member of the Society of Mayflower Descendants
in the State of Connecticut
HARTFORD CONNECTICUT
MDCCCCXVIII
COPYRIGHT
BY
Mrs. Albert Hastings Pitkin
This Edition is limited to Two hundred and Sixty
copies of which this is No.
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List of Illustrations (Bennington) 7
Preface ll
History of the Bennington Pottery 15
Catalogue of Bennington Pottery 5°
Marks of Bennington Pottery 69
List of Illustrations (Early American Folk
Pottery) 77
Introduction 79
Early American Folk Pottery 79
Catalogue of Early American Folk Pottery 115
Tributes and Resolutions on the Death of
Mr. Albert Hastings Pitkin 129
Index J46
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No. i.
Grave-stone in Old Bennington Grave-
yard, of Captain John Norton, the
Pioneer Potter 16
No. 2.
Group of Granite Ware (left) and
Parian (right) Water Pitcher, First
Parian Ware made in the United States.
Marked: " United States Pottery, Ben-
nington, Vt.," circa 1846. Height, 9
inches.
Granite Ware Water Pitcher, Dark Blue
under glaze and heavy Gold decoration.
Height, 9^ inches 18
No. 3.
Group of Pitchers (from left to right).
Pitcher, green, light yellow and brown.
Height, 7 inches.
Pitcher, light green and yellow.
Height, 7^ inches.
LIST OF ILLUSTRATIONS
Pitcher, dark brown, marked: " Norton
and Fenton, Bennington, Vt." in a
circle. Rockingham. Height, 8
inches.
Pitcher, brown glaze. Marked: "Nor-
ton and Fenton, East Bennington,
Vt." in two horizontal lines. Height,
6y2 inches. Extremely rare.
Pitcher, decoration, dark blue, yellow,
green, brown and orange. Mark:
" Lyman and Fenton, Bennington,
Vt., 1849 " m usual circular mark.
Flint enamel. Height, 6 inches. ... 20
No. 4.
Group of Flint Enamel.
Pitcher, brown glaze, reeded. Im-
pressed mark in a circle, " Norton
and Fenton, Bennington, Vt."
Height, 8 inches.
Covered Jar, reeded. Height, 9
inches.
Pitcher, dark brown Hunting Scene.
Flint enamel. Height, 7 inches ... 22
No. 5.
Large Water Cooler 24
No. 6.
Group of Flint Enamel.
Coffee-pot, Tea-pot, Creamer and
Sugar Bowl 26
No. 7.
Flint Enamel Foot Bath. Large elliptical
mark. Diameter, 21 inches 28
No. 8.
Pitcher, hound handled. Decoration,
Grapes and Leaves. Rockingham.
LIST OF ILLUSTRATIONS
Water Pitcher. Flint enamel, tortoise-
shell decoration. Signed " Lyman,
Fenton and Co. Fenton's Enamel,
Pat. 1849, Bennington, Vt." Height,
10^2 inches.
Water Pitcher. Flint enamel. Marked
in circular mark " Lyman & Fenton,
Fenton's Enamel, Bennington, Vt."
Height, 1 1 inches.
Little Covered Jar. Reeded. Tortoise-
shell. Height, 7 inches 30
No. 9.
Lion on base. Flint enamel. Mark:
" Lyman, Fenton & Co. Fenton's
Enamel. Pat. 1849. Bennington, Vt."
Lion not on base. No mark. Flint
enamel.
Lion on base. Very curly mane. Mark:
" Lyman, Fenton & Co. Fenton's
Enamel. Pat. 1849. Bennington, Vt."
Flint enamel 32
No. 10.
Deer on base. Flint enamel. Height, 1 1
inches. Mark: "Lyman Fenton &
Co. Fenton's Enamel. Pat. 1849.
Bennington, Vt." 34
No. 11.
Doe on base. Flint enamel. Height, 1 1
inches. Mark: " Lyman Fenton & Co.
Fenton's Enamel. Pat. 1849. Ben-
nington, Vt." 36
No. 12.
Dogs with Baskets of Flowers. One,
Parian Ware 38
IO LIST OF ILLUSTRATIONS
No. 13.
Parian Pitcher 4°
No. 14.
Vase. Scrodled Ware. Tulip shaped.
Height, q inches. Unusual piece in
Scrodle Ware 42
No. 15.
Child at Prayer. Parian 44
No. 16.
Monument composed of various Benning-
ton Wares, exhibited at the New York
Crystal Palace, in 1853 46
No. 17.
Water Cooler. Flint enamel 48
flr*far*
Having devoted much time, during the
past thirty-five years, to research work, and the
study of Early American Potteries, and their out-
put, I long since concluded that the pottery estab-
lished in the first decade of the Nineteenth Cen-
tury, at Old Bennington, Vermont, and its suc-
cessors, was probably the most important pottery
of New England, during the first half of that
century.
To the study of this noted pottery, I have
given so much time, obtaining so much historical
data, and so large a Collection, of its most interest-
ing productions, in great varieties of bodies and
glazes, that my dear friend, the late Dr. Edwin
A. Barber of Philadelphia, the foremost ceramist,
and the most prolific author on the subject in our
country, exacted from me, the promise that I
would cause to be published the information which
I had obtained, relative to this Pottery.
I offer this explanation as my reason for
presenting this work to the public.
My principal sources of information have
been the potters, themselves, those who worked at
this pottery, of whom only a few are now living.
When one realizes that the Bennington
Pottery has now been closed nearly sixty years,
and that the men employed there would be seventy-
five, or more, years old, one can readily perceive,
that, in some instances, memories may have failed.
Hence slight inaccuracies may have crept in. But
I have endeavored by a comparison of statements,
as given by the different workmen, to as much as
possible eliminate, or correct such statements, if in
any way conflicting one with another.
Without serious attempts at literary style,
I present these pages to the reader.
Albert Hastings Pitkin.
Hartford, Connecticut.
September, 19 17.
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Manufacturing interests in the United
States, previous to 1800, were somewhat limited
in extent and variety.
Among these industries, that of the potter,
seems to have been prominent and we find records
of small potteries well distributed throughout New
England. These early potteries produced what
are now called " red wares " and " stone wares,"
the latter becoming more abundant later on. The
red wares were made from common brick clay,
thoroughly levigated, fired at a comparatively low
temperature, lead-glazed and more or less deco-
rated, in colored slip, in a large variety of forms
and sizes such as : — pitchers, cups, mugs, jugs,
bottles, pie-plates, milk-pans, jars, crocks, bread-
trays, and many toys and shelf ornaments, but
principally articles of utility. The stone wares
consisted largely of crocks, jugs, bottles, jars, and
churns and were salt-glazed.
1 6 HISTORY OF THE BENNINGTON POTTERY
Connecticut seems to have led the other
New England States, both in the number of her
small potteries, and the amount of their out-put.
John Pierce, was born in Wethersfield,
Connecticut. He went to Litchfield, Conn., in
1753, where he established a pottery. He was
well-known as " Potter Pierce."
David Norton left Durham, Connecticut,
and moved to Goshen, Connecticut (an adjoining
town to Litchfield) about 1752. John Norton, the
fourth child of David Norton, was born in
Goshen, Connecticut November 29th, 1758, and
married March 6th, 1782, Lucretia, daughter of
Capt. Jonathan Buel, of Litchfield, Conn. He was
known as Captain John Norton, and as we shall
see, later on, was " Bennington's Pioneer Potter."
Capt. John Norton was with Capt. Good-
win, at New York, in 1776. Also, in the service
in 1780. He was one of the selected guard,
which was stationed around the scaffold at the exe-
cution of Major Andre. (See History of Goshen,
for this War Record.)
In addition to the potters mentioned above,
was Jesse Wadhams, and Hervey Brooks. These
constituting what I would designate as the " Litch-
field Group, of the Early Connecticut Potters."
Capt. John Norton and his wife, left
Goshen, Conn., and went to Williamstown, Mass.,
and Luman Norton, their oldest son, was born
there, February 9th, 1785. The following Spring,
they moved to Old Bennington, Vermont. Capt.
Sacred to
the iiipmoryof
Gapt.John Norton
who departed
this life August
2 ( '" 1828:
in the7D*year '
' Of III:
No.
HISTORY OF THE BENNINGTON POTTERY 1 7
Norton purchased land in the south part of the
town, comprising what is now the Moses Wilson,
the W. S. Hinman, and the Charles Tudor farms,
about a mile and a quarter, south of the Old First
Church of Bennington, and he built his pottery,
opposite the spot where the Hinman house, now
stands.
Five years later, he built the house standing
north of this property which is now occupied by
Charles Tudor and which was known for many
years, as the " Old Norton Homestead." His
oldest son, Luman, built the Hinman house.
Capt. Norton carried on farming, and
about 1793, established a Pottery. The Captain
was nicknamed " Potter Norton."
From whom, Captain John Norton learned
the pottery trade, has not been accurately ascer-
tained, but there were several potters, in Litch-
field County (referred to above) in his day.
Presumably, Capt. Norton was originally a
maker of what are now known as red wares.
Every indication tends to show, that in his first pot-
tery, at Bennington only salt-glazed stone ware
was produced. He made ordinary house-hold
utensils. Several pieces of this ware are known to
be in existence. John Norton died in 1828. In
1 83 1, his son Luman, or Judge Norton, as he was
known, moved to the present village of Benning-
ton, and built a pottery on the site of the present
building. It was about the same size and style of
architecture. Here the business was conducted on
1 8 HISTORY OF THE BENNINGTON POTTERY
i
a much larger scale, and they manufactured stone
ware, yellow ware and Rockingham, which is a yel-
low ware, spattered before firing, with a brown
clay, which gives it the mottled appearance. It
was first made in England at the Swinton Pottery,
on the Estate of Charles Marquis, of Rocking-
ham, which gave the name.
All this was before the days of traveling
salesmen. The ware was packed into large wagons
built for the purpose. They had high sides and
were painted dark green, and in large yellow let-
ters was printed " Bennington Stone Ware," and in
much smaller letters " Norton Pottery." It re-
quired four horses to draw these wagons, and that
they should be perfectly matched was a subject of
much pride. These wagons went through New
England and the ware was sold at the general
stores. To drive these teams, and sell this Ben-
nington ware, was considered the best position, for
young men, that the times afforded. It required
considerable versatility to be able to handle four
horses over all sorts of roads, sell the ware, and
get home safely, with the money. Very little busi-
ness in those days was done through banks. In
suitable weather these young men wore silk hats,
in the style that was appropriate at that time.
Among the early drivers were Edward Norton,
Henry Hall (who was Governor Hall's son),
George Rockwood, and E. L. Nichols.
In 1839, Judge Norton took his son-in-
law Christopher Webber Fenton, of Dorset, Ver-
No.
HISTORY OF THE BENNINGTON POTTERY 1 9
mont, into business with him. He had previously
learned the pottery trade, at a red earthen-ware
pottery at Dorset, Vermont. Soon after, we find
the firm, " Norton and Fenton, Bennington, Ver-
mont" (Mark 1,) impressed on the octagonal
pitchers, of the " single glaze " Rockingham ware.
This mark also appears on elliptical form, on sim-
ilar pitchers (Mark 2).
A few years later, we find the mark "Nor-
ton and Fenton, East Bennington, Vermont "
(Mark 3) showing that they had moved to what is
now the town of Bennington, which was then
called " Algiers " in derision, by the residents on
the Hill.
About 1828, Mr. Fenton married Judge
Luman Norton's daughter, Louisa, and Judge
Norton had erected, on Pleasant Street, the large
and commodious brick mansion, the west side of
which was occupied by Mr. Luman Norton's
family, and the east side by that of Mr. Fenton.
Here, on the adjoining land, was erected the first
down-town pottery, and it was conducted, for the
first years of its existence, under the name " Nor-
ton and Fenton " (Mark 4).
Christopher Webber Fenton was born in
Dorset, Vt., in 1806, where he learned his trade
as a common red-ware potter. No record has been
found, showing the date when Mr. Fenton went to
Bennington. Had he done so as soon as he fin-
ished his apprenticement in Dorset, he might have
worked for Capt. John Norton one year. At the
20 HISTORY OF THE BENNINGTON POTTERY
end of which time, Captain John Norton died, in
1828. From the dates and ages given in the Nor-
ton Family Records, it is safe to assume that Mr.
Fenton first associated himself with Mr. Luman
Norton, Capt. John Norton's oldest son, succeed-
ing Captain John Norton in business.
Later on, the firm became Julius and Ed-
ward Norton and still later, about 1865, Edward
and Lyman P. Norton, then Edward Norton and
Company, when Mr. C. W. Thatcher became a
partner.
In 1846, Mr. Fenton wished to go into a
more decorative line of ware, and Judge Norton
did not care to, but he offered no objections to the
younger men making the venture, and in the north
wing of the Norton Pottery, Mr. Fenton, Julius
Norton, and Henry Hall started the manufacture
of Parian Ware. This is a hard porcelain, and
took, its name from the resemblance to Parian
marble. They brought John Harrison from Eng-
land to do their first modeling.
This partnership lasted but a few years,
and Mr. Fenton leased from the Nortons the
north wing of the old Stone Ware Pottery and was
in business for himself alone, at which time the
Mark used was " Fenton's Works, Bennington,
Vermont" (Mark 5). During this period, we
find the use of this Mark on pieces of various
bodies, such as Rockingham, Cream Ware, Parian
Ware, glazed and unglazed, and these, in various
forms, and many quite elaborately ornamented.
No.
HISTORY OF THE BENNINGTON POTTERY 21
-■
This, evidently, was an experimental
period with Mr. Fenton and the partnership, with
the Norton's, having been severed by them, he was
endeavoring to produce as large a variety of wares
as possible, in order that he might enlist new
capital from new partners, which he again suc-
ceeded in doing, for a partnership was formed
with Alanson Potter Lyman (a Bennington law-
yer), the firm name becoming "Lyman and
Fenton."
The Norton's relinquished their interest
in this pottery in 1881, when it was sold to Mr. C.
W. Thatcher, who now carried on the business,
under the firm name, " The Edward Norton Co."
and on whose sign we read, " Established in
I793-" For several years past, no pottery had
been made here, Mr. Thatcher dealing in western-
made wares.
Thus we have a record, covering nearly
one-hundred years, of the manufacturing and sell-
ing of Pottery by various members of one branch
of the Norton Family, at Bennington Center, East
Bennington, and Bennington, Vermont.
Captain John Norton and his wife are
buried near the Congregational Church, in the old
Cemetery at Bennington. From the Tablet we
read, " Sacred to the memory of Capt. John Nor-
ton, who departed this Life August 24th, 1828,
in the 70th. year of his age." (Plate No. 1.)
22 HISTORY OF THE BENNINGTON POTTERY
Many pieces of the Norton Pottery are to
be found now, bearing the Firm names. These are
invariably, Stone Ware. Capt. John Norton may
have made Red Wares for a few years, but no
marked pieces of this have been found. Moreover,
specimens of Red Ware are seldom seen in Ben-
nington vicinity, and brick-work was not often
seen, the local clay being best adapted to the mak-
ing of Stone Ware. Mrs. W. B. Walker has an
ink-well and several pieces, which were dug out of
the ground, at the old Norton Pottery, when the
men were ploughing. Mrs. L. S. Norton has a jar,
which Tradition said, was one of the first pieces
made at the old Norton Pottery, on the farm.
The Ostrander family in Hoosick, N. Y., have a
similar piece, on the bottom of which is written,
"This was made in the old Norton Pottery."
The earliest settlements in Bennington
were in that part, long known as Bennington Cen-
ter and more recently called Old Bennington. It
was settled in 176 1, by the Robinsons, Deweys,
and other prominent families. From their homes
went forth valiant Christians, under whose leader-
ship was enacted the memorable event of August
1 6th, 1777. This event is commemorated by a
magnificent shaft, three hundred and six feet in
height, standing at the upper end of Monument
Avenue, a little more than a mile west of the vil-
lage. Many of the farms of the early settlers, ex-
tended to the present limits of the village which
No. 4.
HISTORY OF THE BENNINGTON POTTERY 23
was then known as East Bennington and in deri-
sion, called "Algiers."
Among the fine old houses of Bennington
Center, now standing, the most interesting is the
Robinson house, built in 1796. It is still in the
possession of and occupied by a direct descendant
of its builder, Mr. George Robinson. Within are
still many choice specimens of antique furniture,
family heir-looms and veritable Revolutionary
relics.
The grand old-style mansion which was
built by Judge Luman Norton, is also an interest-
ing house. It was built in 1 838. Mr. Samuel Keyes
contracted for the masonry at a cost of eight hun-
dred dollars ($800.00). Later, when Mr. Keyes
built the kilns for the United States Pottery he
remarked that each kiln required more bricks than
did that large mansion which leads us to believe
that the kilns were large ones for that date.
There is conclusive evidence that Mr.
Fenton was associated with Mr. Norton, in the
early part of Mr. Fenton's career in Bennington.
Stone Ware jugs and crocks are often found
marked " Norton and Fenton, Bennington, Ver-
mont." There is a fine large water pitcher, hexago-
nal in shape, on each panel a floral design, in re-
lief. This pitcher has a dark brown glaze, is of
a cream colored pottery body and bears on the
under side the Mark " Norton and Fenton, Ben-
nington, Vermont." This is in the Pitkin Collec-
tion. A companion pitcher, in circular form bear-
24 HISTORY OF THE BENNINGTON POTTERY
ing the same mark, may be seen at Pennsylvania
Museum.
So far as has been ascertained the firm
known as Norton and Fenton made nothing but
Stone Ware and brown-glazed pottery.
About 1845, when we find Mr. Fenton
alone in the business as is shown by the mark
11 Fenton's Works, Bennington, Vermont " (Mark
5) . It is found on Rockingham ware, Parian, and
pottery of a yellow body.
About this time, in 1845, was produced
the first Parian ware, made in the United States,
which was only three years after its first appear-
ance in England.
A Parian pitcher bearing this mark is in
the Pitkin Collection, in the Morgan Memorial at
Hartford, Connecticut. The Rockingham piece,
in the Pitkin Collection, so marked, is an octagonal
water-cooler, of yellow body mottled in light
brown. In the same Collection is also a beautiful
sugar bowl, elaborately decorated with vines and
flower bearing the same mark.
We must infer, that Mr. Fenton was a
practical potter, of extraordinary skill, well-nigh a
genius at his trade, artistic in his tastes, a natural-
ist, something of a chemist, a profound student,
probably erratic and perhaps visionary. He was
never content to plod along under moderate suc-
cess but must needs pull down and build larger,
thereby exhausting capital and presumably, the
patience of his partners. On the whole a far bet-
No. 5-
HISTORY OF THE BENNINGTON POTTERY 25
ter potter than financier, as is evidenced by the fre-
quent and numerous changes in the partnerships
of which he was a member.
Presumably much elated over his success
shown in his early productions in Parian, Rocking-
ham and other wares, he was enabled thereby, to
interest Bennington gentlemen, securing their co-
operation, as capitalists and formed the partner-
ship of " Messrs. Christopher Webber Fenton,
Henry D. Hall and Julius Norton, in 1846."
They produced yellow, Parian and Rock-
ingham wares, still occupying a part of the Old
Stone Ware shop of the Norton's. Mr. Hall re-
mained in the firm only a short time. Next, Mr.
Norton withdrew. The firm then became " Lyman
and Fenton," with the admission of Mr. Alanson
Potter Lyman, a prominent lawyer of Bennington.
Soon after this, Mr. Calvin Park took an
interest and the firm name was known as " Lyman,
Fenton and Park." Mr. Park remained a partner
but a short time.
During this period, November 27th, 1849,
Mr. Fenton obtained from the United States Gov-
ernment, the Patent for the process of applying
colors to the flint-enamelled wares.
26 HISTORY OF THE BENNINGTON POTTERY
United States Patent Office.
C. W. Fenton of Bennington, Vermont.
IMPROVEMENT IN GLAZING POTTERY-
WARE.
Specification forming part of Letters Patent No.
6,907, dated November 27, 1849.
To all whom it may concern:
Be it known that I, Christopher W. Fen-
ton of Bennington, in the county of Bennington
and State of Vermont, have invented a new and
useful improvement in the application of colors
and glazes to all articles made of potters' materials
— such as crockery, earthern, and stone ware,
signs and door-plates and knobs, picture-frames
and architectural ornaments; and I hereby declare
that the following is a full and true description
thereof.
The article to be colored and glazed, be-
ing in the usual state for applying the glaze, is
immersed in a transparent under-glaze, then with
a small box perforated with holes the colors are
thrown or sprinkled on through the holes over the
surface of the article in quantity to produce deeper
or lighter shades, as may be desired, leaving a part
of the surface for the body of the article to show
through in spots. By fusion in the kiln the colors
No. 6.
HISTORY OF THE BENNINGTON POTTERY 27
flow and mingle with the under glaze, and are
carried about over the surface in various forms,
and the article is thereby made to present a close
imitation of the richest shells, varigated stones, or
melting and running fluid, almost every variety of
rich and beautiful appearance being produced by
flowing and mingling of the colors with the under-
glaze, and the appearance of the article being
varied according to the complexion of the body of
the article and the colors and quantity thrown
upon it.
The colors may be applied to the article
by other means than that of the perforated box,
provided the same effect is produced. What I
claim as my invention, and desire to secure by
Letters Patent, is —
The coloring of the glaze of pottery-ware
by the means substantially as herein set forth and
described.
C. W. Fenton.
Witnesses:
A. P. Lyman
L. Norton.
Note particularly, that the fore-going
Patent covered only the coloring process, and not
the composition of the flint-enamelled glaze, which
had previously been made by Mr. Fenton and co-
temporaneous potters, among them the Bennett
Brothers of Baltimore, F. Bagnall Beach of Phila-
delphia and others of lesser note.
28 HISTORY OF THE BENNINGTON POTTERY
The mark used at this time was " Lyman
Fenton and Company. Fenton's Enamel. Pat-
ented, 1849. Bennington, Vermont " (Mark No.
6). The use of this Mark was continued for sev-
eral years on the best examples of Rockingham
ware.
Shortly after this, another change of part-
nership occurred, when the United States Pottery
was formed. They occupied the building directly
across the small stream from the Norton Stone
Ware Works. Here was erected, what, for those
days, was a very large establishment having six
kilns. These kilns were built by Samuel Keyes a
brick mason, who in previous years, did the
masonry work on the double brick mansion of the
Nortons, before mentioned, and Mr. Anson
Peeler, a master carpenter, erected the large and
suitable buildings, on the north bank of the small
tributary of the Walloomsac river, across the
stream from the Norton works. The reorganized
firm took the name of the " United States Pot-
tery." Among the several capitalists interested in
this venture were Messrs. Lyman, Fenton, Park,
Gager, Dr. Hollis and others. Finer wares were
attempted, elaborately decorated Parian, white
granite and a small quantity of soft paste porce-
lain. The factory mark used at this period, was
" The United States Pottery " in three designs.
(Mark No. 7.)
Mr. Fenton was a skilled craftsman, who
had learned the finer elements of the potter's trade.
HISTORY OF THE BENNINGTON POTTERY 29
He, it was, who discovered in Vermont the fine
kaolin clay and the minerals which were used in
making the various wares. Mr. Fenton took out a
Patent for flint enamelled ware, which was an im-
provement on the Rockingham, in its durability
and the great variety of its coloring. It was plain,
mottled and striped, the latter, sometimes being
called " scrodled " or " lava." There is an exam-
ple of this ware in the Pitkin Collection which is
a tulip shaped vase in cream color with brown
markings. (Plate No. 14.)
Workmen were sent for, from the Stafford-
shire district, England, from Belgium and Ger-
many, and many of the natives of Bennington,
here, learned and applied their trade. The pay-
roll, at one time amounted to Six thousand dollars
a week, and about one hundred men were em-
ployed.
Theophile Fry, who came either from
France or Belgium, and Daniel Greatbach were
the principal artists and designers. Greatbach was
an Englishman, who had worked for the Jersey
City Pottery and his name is always connected with
the hound-handled pitchers (Plate No. 8) which
he modelled first, for that pottery. In 1850, when
he joined the United States Pottery, he altered
that and other designs which he had made at the
Jersey City Pottery and reproduced them at Ben-
nington. The hound handle pitcher of this period
is the finest and much superior even to the later
one, reproduced by him at Trenton. A spirited
30 HISTORY OF THE BENNINGTON POTTERY
deer hunt in relief was represented on one side and
a boar hunt on the other, while a grape vine
covered the neck and shoulder. It was in three
sizes, usually in brown.
Daniel Greatbach came of a family of
potters, and is said to have worked for the Ridg-
ways in England, before coming to America. The
idea of using a dog for a handle was not original
with him, for it had been done at Brampton in
Derby-shire, many years previously, and the Doul-
tons also produced large stone ware mugs, with
three hound handles. The Bennington pitchers
differ from the Jersey City, in having the head of
the hound free from the paws, and the vine is
heavier on the former (Old China, pp. 95-6).
When the United States Pottery closed, Greatbach
went to South Carolina and then to Peoria, 111.,
when he sold the mould for his jug. It is now in
the possession of the Vance Faience Co., who have
issued a few copies which bear their name.
Among the potters who came from the
Staffordshire district, may be mentioned Daniel
Greatbach, the chief modeller, who came to Ben-
nington from the Jersey City Pottery, William
Leake and his brother Charles Leake, who were
both pressers, John Leigh, and Enoch Barber, who
were both mold-makers, Joseph and Henry Law-
ton, and John Harrison, a modeller.
Notes on the Workmen have been fur-
nished by Mr. W. G. Leake of Bennington, as
follows: " From Staffordshire, William Hollins,
No. 8.
HISTORY OF THE BENNINGTON POTTERY 3 1
presser, William McLea " jigger-man," Thomas
Piatt, kiln-placer, James Caldwell, slip-maker, and
his brother John, clay-maker, John Caldwell, Jr.,
thrower, John Sedman, presser, William Sea-
bridge, kiln-placer, and Dick Moon, kiln-placer.
The two Leakes went to Trenton, N. J., to
Phoenixville, Penn., about 1878, then to Eliza-
beth, N. J., with L. B. Beerbower and Co., and
they were the " Company." They sold out about
1887. At Elizabeth, New Jersey, they had the
" Old John Pruden Red Ware Pottery." The-
ophile Fry, the chief decorator, was from Belgium.
Mr. William G. Leake's grandfather, was a color
maker for the Ridgways, at Staffordshire, Eng-
land. William Burtleman was from Germany.
Stephen Theiss was from Germany."
Mr. Leake, Sr., Enoch Moore and John
Leigh went to West Troy and had a Stone Ware
Pottery. Mr. Leake returned to Bennington
about 1 86 1, and made Rockingham Ware in the
north end of the Stone Ware Pottery, for about
three years.
Other names from Staffordshire furnished
by Mr. Leake were Joseph Alsop, kiln-placer,
John Molds, kiln-placer, John and William Cart-
wright, Joseph Tunicliff, turner, Enoch Lear,
thrower, James Baker, turner, John Burglin, ware-
house man, William Wray, turner, Leonard Wray,
presser, William Umpleby, presser, William
Anderson, kiln-placer, William Owens, kiln-placer,
William Maddock, presser. Mr. Leake, sr.,
3
32 HISTORY OF THE BENNINGTON POTTERY
worked for Adam Carey, at Poughkeepsie, N. Y.,
before he came to Bennington. Mr. William G.
Leake was born in 1848. At ten years of age he
was in the Bennington Pottery, where his father,
William Leake, worked. William L. Leake and
his brother Charles, were pressers. William G.
Leake's uncle, John Leigh and Enoch Barber were
both from Staffordshire. Samuel and James
McDougal were from Glasgow. (Mr. W. G.
Leake.)
Among the native workmen were Enoch
Moore, foreman, Decius Clarke, superintend-
ent, William Moore, Henry Moore, Byron Sib-
ley, William Wells, Rufus Godfrey, Thomas
Hutchins, Daniel and Patrick McGuire, Thomas
Cullien, Augustus Danforth, Dr. Wilcox, press-
man, Charles and Dwight Riddle, John Keough,
Charles Sanford, charge of the finished Ware.
Mr. Henry S. Gates of Chicago furnishes
the following data : —
" Stephen Theis was born in Mons, Bel-
gium, in the year 1824. He learned the potter's
trade in Europe, and worked in all its branches
from the milling of the clay, to the drawing of
the kiln. He also designed and modelled many
pieces, before he came to America, which was in
1847 or 48. He went to Bennington to work in
the United States Pottery about 1850, and he was
employed there until it closed when he went to
West Troy to work. Later on, a Stock Company,
under the Leadership of Mr. Decius Clark started
No. 9.
HISTORY OF THE BENNINGTON POTTERY 33
the manufacture of Rockingham and yellow ware,
in a part of the old United States Pottery building
when Mr. Theiss returned to Bennington, and was
in their employ as long as they continued the busi-
ness. Afterward, he went to South Amboy to
work. In 1866, he went to Worcester, Mass., to
work for the firm of " Norton and Hancock "
both, formerly, Bennington men. For several
years before his death, he was foreman in the J.
J. Jeffords Pottery in Philadelphia.
" Mr. Theiss married the sister of Mr.
Henry S. Gates of Chicago and she is living in
Clementon, N. J. She is an invalid and is seventy-
nine years old.
" Theophilus Fry was a Frenchman and an
expert decorator. He worked at the United States
Potter^' until it closed when he went to Trenton,
N.J. .
" Daniel Greatbach was inclined to be a
recluse. He had a room on the second floor where
he designed and cast the molds. This room was
private and but few went into it. He was about
sixty years old and weighed about two hundred
and forty pounds. He had long hair that came to
his shoulders and he was troubled with granulated
lids."
Quite a number of girls worked in the
pottery at the ' treading wheel ' for the ' throwers '
and helped ' stack up ' finished ware in the packing
room. They also examined the finished ware for
defects. John Harrison came from England, to
do the first modelling for the Parian ware.
34 HISTORY OF THE BENNINGTON POTTERY
Through Mr. Fenton's influence, Mr. D.
W. Clark, Superintendent and Mr. E. Moore
went to Kaolin. Dr. Wilcox also went with Mr.
Clark and Albert Cushman, in December, 1858.
Messrs. Fenton and Clark went from Kaolin to
Peoria, 111. Messrs. Hutchins, Sibley, Keough,
and Godfrey tried to start up the United States
Pottery again.
Calvin Park married Fanny Fenton,
daughter of Mr. Fenton's first wife, who was a
daughter of Luman Norton. Mr. Fenton's first
wife died, and by his second wife he had a daugh-
ter, Louise Anna, whom her half-sister Mrs. Park
adopted. Louise Anna Fenton married Major
Henry D. Fillmore, whose daughter, Fanny Fen-
ton Fillmore married Mr. Ralph H. White of
North Bennington, Vermont.
In 1853 the works at Bennington were in
a flourishing condition and over one hundred men
were employed there. The Pottery's headquarters
were in Boston but there were few ' China Shops '
in those days and the distribution was largely made
by peddlers traveling from door to door in both
city and country, who sold these new ornamental
wares and figures of lions, cows, dogs, deer, etc.,
etc. (Plate Nos. 9, 10, 11, 12.)
Among many other forms were the book
bottles lettered " Departed Spirits," or " the
Battle of Bennington " Tobies, tulip-shaped vases,
candle-sticks, pitchers, tea-sets and " coachman "
bottles all in the Rockingham or flint-enamelled
glazes.
No. 10.
HISTORY OF THE BENNINGTON POTTERY 35
It is often difficult to distinguish between
Bennington and the similar wares made at other
factories, but the marked examples help the col-
lector in his comparisons and judgment.
Parian was an unglazed porcelain sup-
posed to imitate Parian marble. It was moulded
with elaborate floral designs in relief. Besides
pitchers and vases a few statuettes were produced
for mantle ornament, such as the Praying Child in
the Pitkin Collection. (Plate No. 15.) Much of
the Parian had a blue pitted ground against which
the white reliefs stood out sharply. It is said that
each indentation in this pitting was punched sepa-
rately. The mould made from the model had
small projecting points which were covered wth
blue slip by means of a brush. When the white
clay was poured in a mould it took up the blue
from the points leaving the relief design in white.
(Plate No. 13.) When not too thick Parian is
translucent. Many of the ornamental forms have
much delicacy of modelling and a velvety surface
probably obtained by coating the interior of the
seggars in which they were fired with glaze which
vaporized with the heat, gave the ware a glossy
finish. Only those pieces intended to hold liquids
were actually glazed and then it was on the inside.
In a very interesting paper, written by
Mrs. C. H. Emmons of Bennington, on the Ben-
nington Pottery which was read before the local
chapter of the " Daughters of the American Revo-
lution " she states that " the United States Pottery
36 HISTORY OF THE BENNINGTON POTTERY
extended across what is now School Street to a
point a little east of the North Street Bridge where
the Walloomsac River and the little brook came
together. I am told that the first bridge across
the river at North street was a covered bridge.
What is called School Street and the land to the
point were piled high with slabs and it required
what is described as a small army of men, to draw
these slabs down from the mountains and work
them into suitable lengths for firing the six kilns.
The first bridge on Pottery Street was built for the
accommodation of this pottery.
Between 1850 and i860, the pottery indus-
tries were said to be the largest in the town em-
ploying three hundred men; but this number un-
doubtedly included the men working in wood yards
and barns, as well as the turners, molders and all
inside workers.
The United States Pottery went out of ex-
istence in i860, the potters going to Trenton, N.
J., Ohio, Illinois and a few to Kaolin, S. C. In
1870 the old building was torn down to make way
for the present graded school building. Many of
the old molds and patterns were stored in the old
Norton Pottery and the men were allowed to use
them from time to time, which accounts for the
many pieces lacking the fine lustre and coloring.
At the United States Pottery, Bennington,
Vermont, experiments were made with inlaid tiles
in 1853 and a sufficient number were produced to
cover a floor space of seven feet square underly-
No. ii.
HISTORY OF THE BENNINGTON POTTERY 37
ing the exhibit of this factory at the Crystal Palace
Exhibition which was held in New York that year
(i853)- These tiles were about ten inches square
and made by wet clay process. The body was
white inlaid with variegated colors the designs con-
sisting of ornamental centerpiece and border with
the American flag in each corner. It is not known
what disposition was made of this tile floor, after
the Exhibition, and it seem", that the difficulties en-
countered in making these examples deterred the
Company from continuing further experiments in
this direction. (Dr. E. A. Barber.)
It required four years to master the Pot-
ter's trade. First, the shaping of the lump of clay
on the wheel. Then came the free-hand decora-
tion, the process of firing, setting and drawing the
kiln, required great care. The Salt-glaze was pro-
duced by throwing salt on the ware, in the kiln,
shortly before the kiln was drawn or opened. This
vaporized and penetrated every crack and crevice.
The ware remained in the kiln about forty-eight
hours.
On a wild winter's night in 1873, the Nor-
ton Pottery took fire from an over heated kiln and
burned to the ground. The molds and patterns
were a loss which could never be replaced and pre-
vented the possibility of ever returning to the
manufacture of the old line of ware.
A characteristic feature of the Norton Pot-
tery was the length of time that men remained
with the Company. Two hundred and fifty years
38 HISTORY OF THE BENNINGTON POTTERY
is the combined number of years that six men made
stone ware. Four of them are now living. C. C.
Kimball, John Norton, Frederic Godfrey, and
Frank. Greenslet. The two who have died are
James Williams and Jerome Johnson.
Frank Norton, brother of Edward Nor-
ton, with Frederic Hancock were also practical
potters with the firm. They went, about 1858,
to Worcester, Mass., where they started a pottery
which had a good out-put for many years.
" Fenton's Enamel " or " Flint Enamel "
(Plate Nos. 4, 5, 6, 7), as it was called is found in
many varieties or combinations of color: — black
and yellow mottled, olive green and yellow, com-
binations of greens, browns, yellows, dark red and
blue, the blue but sparingly used. JMo richer
colored, more brilliant, more durable glaze was
ever applied to a bit of Rockingham ware, than
appears on the best specimens produced by this
firm in great variety of colors, forms and sizes and
bearing their mark.
The Parian ware they made in large quan-
tities and great variety of articles, useful and orna-
mental. We find that they also made white wares
called "White granite" (Plate No. 2), princi-
pally in white toilet sets, but occasionally in other
articles, such as mantel ornaments.
The "scrodled" or "lava" ware (Plate
No. 14) manufactured here, was similar to the
English agate ware. It seems not to have enjoyed
No. 12.
HISTORY OF THE BENNINGTON POTTERY 39
great popularity or was too expensive or difficult
of production, as we seldom meet with a specimen.
In fact, it is the rarest of all this great factory's
great out-put. In making it, different colored
bodies were mixed with layers of white clay by
partial " wedging." When finished the article had
a marbled or veined appearance which ran through
the body.
Porcelain, both hard and soft paste, was
made at this factor}7, but in small amounts with
only partial success.
A variety of clays were used in the manu-
facture of the ware : some coming from Long
Island, New Jersey, some from South Carolina;
and a large amount as ballast in ships from abroad,
it being as cheap to import it in this way as to
bring it from New Jersey. Blue or " ball clay "
came from Woodbridge, N. J. The Stone Ware
had a clay from South Amboy, N. J., from the
" Morgan Clay Banks " as they were called. The
Parian ware was costly and was always modelled
with great care. The pitchers and vases had raised
white figures on a blue, gray, or white background.
There were a few poodles made in the Parian
ware, also cows, white tobys and hound-handled
pitchers. Parian ware was made by pressing also
by casting.
The " Flint enamelled " ware (Plates No.
4> 5 » 6, 7, 8, 9, 10, 11), for which Mr. Fenton
took out a patent, was similar to Rockingham, but
harder and more brilliant in appearance, and was
40 HISTORY OF THE BENNINGTON POTTERY
made in three colors, black mottled with yellow,
olive and yellow, brown and yellow, with red, blue
and green mixed.
The largest piece of Bennington ware in
existence is the monumental piece, ten feet in
height which stands on the piazza between the
homes of Mrs. W. B. Walker and Henry Fill-
more, Pleasant Street, Bennington, Vermont. This
monumental piece was displayed at the Crystal
Palace in New York in 1853. It is composed of
four kinds of ware. The base is the lava ware, the
second section, the flint enamel. Above this is a
life size bust of Mr. Fenton, surrounded by eight
Rockingham columns and the whole surmounted
by the Parian figure of a woman. Dr. E. A. Bar-
ber in his book on Pottery and Porcelain (page
170) states "This work is said to have been de-
signed by Mr. Fenton but modelled by Greatbach
and was placed on exhibition at the New York
Crystal Palace, in 1853. It now stands on the
porch of Mr. Fenton's former residence in Ben-
nington, a monument to his enterprise and genius."
(Plate No. 16.)
Horace Greeley, in the New York Tribune,
under an article called "Art and Industry at Crys-
tal Palace " gave a long description of the Fenton
or United States Pottery display. He said
" around this monumental piece are grouped table
and scale standards, Corinthian capitals, figures,
vases, urns, toilet sets, and a great variety of other
specimens of porcelain plain and inlaid." He also
No. 13.
HISTORY OF THE BENNINGTON POTTERY 4 1
mentions telegraph insulators in white flint and
says " This material is one of the best electro
non-conductors that can be found and has been
employed on the telegraphs in the vicinity of
Boston."
Under the flint enamel ware he speaks of
pitchers, candle-sticks, teapots, picture frames,
doorplates, door and curtain knobs, and escutch-
eons. He described the Parian ware as remark-
ably fine, especially in the form of pitchers. They
are light in material and graceful in outline and of
two tints, one fawn-colored from the presence of
a little oxide of iron, and the other, white, from its
absence. These are made of the flint from Ver-
mont and Massachusetts, the feldspar from New
Hampshire, and the china-clay from Vermont and
South Carolina. This Company has the credit of
first producing Parian ware on this continent.
Silliman and Goodrich's " New York Ex-
hibition of 1853 " published by George P. Put-
nam, also describe this ware.
The first attraction of the United States
Pottery ware, is its quaintness. The pieces were
carefully modelled, more so than most of the
products of other potteries of that period. The
glaze was more uniform, brilliant and evenly ap-
plied and had a rich velvety sheen.
Walter A. Dyer says: " It requires a cer-
tain sort of genius to design such fierce lions, such
motherly cows, such jolly tobies."
42 HISTORY OF THE BENNINGTON POTTERY
A collection of Bennington ware was
shown at the American Exposition in 1901 and
since that time it has steadily gained in popularity.
Today, in the Rockingham ware, pitchers,
mantle ornaments and flasks are much sought for.
Many flasks are in the form of books and bear
such titles as " Departed Spirits " " Vanished
Spirits " and others. Popular among the figures
was a lion (Plate No. 9) with its fore-paw resting
on a ball, and a poodle carrying a basket in its
mouth (Plate No. 12). Among the pitchers the
most valuable are the Greatbach " hound-
handled."
Rockingham ware was made mottled, by
splashing on glaze with a paddle. The Rocking-
ham glaze contained lead spar, flint and manga-
nese.
The pottery business was in the Norton
family from 1793 to 1894 and during that time
six Norton men were members of the firm, John,
Luman, Julius, Edward, Luman P. and Edward L.
Norton. The business card used on their One
Hundredth Anniversary read, " We start now on
our Second Century, and would ask for a con-
tinuance of your favors for the next One Hundred
Years. Edward Norton and Co."
The history of the two Bennington Pot-
teries is confused by most of those who have
talked or written on the subject. The Norton
Pottery stands for length of years and an out-put
of a substantial and largely utilitarian character.
::^-*££e?
HISTORY OF THE BENNINGTON POTTERY 43
The United States Pottery was in existence but a
few years but in that time produced much of artis-
tic merit and many pieces of great beauty.
In studying the Bennington Pottery, and
its various wares, I have endeavored to acquaint
myself with all the different patterns used there.
The majority of these are represented by speci-
mens in my Collection in the Pottery Room of the
Morgan Memorial, Wadsworth Atheneum, Hart-
ford, Connecticut. It may be observed that the
same patterns and sizes were used to produce speci-
mens in more than one kind of ware.
The following Lists are intended to assist
the Collector. Let me warn such, that much
American Rockingham Ware and foreign Parian
Ware, is offered on the market as Bennington, that
never came from Bennington.
Lists.
Stone Ware.
Churns,
Crocks, — various sizes,
Jugs — various sizes,
Water coolers,
Pitchers — various forms and sizes
Sugar bowl.
Rockingham Ware (not flint enamelled).
Various cooking utensils, such as pipkins, shal-
low dishes, cake molds, pie-plates,
Pitchers — various forms and sizes,
44 HISTORY OF THE BENNINGTON POTTERY
Jars — various forms and sizes,
Water cooler,
Globular vases,
Cow creamer,
Cuspidors,
Flower-pots,
Drinking cup,
Soap dish, round,
Dog handled pitcher.
Rockingham, Flint Enamelled.
Lion on base, facing right,
Lion on base, facing left,
Lion (no base), facing left,
Lion (no base), facing right,
Poodle dog, facing right,
Poodle dog, facing left,
Deer recumbent on base,
Cow,
Spaniel dog recumbent on base. Paper weight,
Vases, tulip leaved, tall,
Vases, tulip leaved, short,
Books, small, medium and large,
Money bank, figure of a woman,
Foot warmer,
Tile rest, for fire set,
Door plates, straight sides and rococo,
Picture frames, oval and square, and rococo,
Drinking cup, tumbler shaped,
Drinking cup, goblet shaped,
Drinking cup, goblet shaped with a handle,
No. 15.
HISTORY OF THE BENNINGTON POTTERY 45
Hound handle pitcher,
Hunting scene pitcher,
Wash bowl and pitcher, octagonal,
Wash bowl and pitcher, round,
Wash bowl and pitcher, reeded,
Soap dish,
Door knobs, various sizes.
Curtain knobs,
Match box,
Slop jar,
Foot-bath,
Jardinieres,
Cuspidors — various sizes and patterns,
Water cooler,
Tea-pot,
Coffee-pot,
Sugar bowl,
Creamer,
Spoon-holder,
Toby, handle, a man's leg,
Toby, a man seated,
Toby bottle, man in cloak, monk,
Toby bottle, man in cloak, with higher hat,
curly hair, coachman,
Toby bottle, man astride a cask,
Bottle, flask, drinking scene,
Tooth-brush holder,
Toby tobacco jar,
Lamp standards,
Candle sticks, tall,
Candle sticks, short,
46 HISTORY OF THE BENNINGTON POTTERY
Candle sticks, with saucer loop handle,
Pipkins,
Toilet set, complete,
Brackets.
Parian.
Pitcher, Water Lily,
Pitcher, Knight,
Pitcher, Wild Rose Niagara,
Pitcher, Palm Tree,
Pitcher, Ivy Leaf,
Sugar bowl,
Dog and Kennel,
Door-plate,
Knobs,
Escutcheons,
Figure, " Samuel,"
Figure, Sheep,
Figure, Ram,
Figure, Bird's Nest,
Figure, Girl lacing her shoe,
Figure, Eagle and Child,
Figure, Bust of Fenton,
Figure, Greyhound,
Figure, Poodle Dog, Right and Left,
Vase, Calvin Park,
Vase, cylindrical,
Swan,
Cane Head,
Letters for Door Plates,
Syrup Jugs,
Phrenological Head.
No. 16.
HISTORY OF THE BENNINGTON POTTERY 47
Granite Ware.
Toilet Set,
Escutcheons,
Foot-Bath,
Water Pitchers — various sizes,
Cow creamer,
Swan,
Globular Vase,
Cuspidores,
Toby Bottle.
Scrodled.
Vase, Tulip leaved,
Wash bowl and pitcher,
Monument Base,
Tooth Brush Dish,
Soap dish,
Cuspidors.
Marbled.
Parts of a Toilet Set.
/
No. 17
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of
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in
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iJIotrtrlatr, N*ro 3fm$?g
No. i. White Parian Pitcher, Bennington, Vt.
Daisy pattern. Glazed outside and
inside. Branch handle. Height 5}4
inches. Mark: " Fenton's Works,
Bennington, Vt." Medallion. Rare
mark.
No. 2. Parian Pitcher, Bennington, Vt. White
pond lily on blue pitted back-ground.
Glazed interior. Height 7^ inches.
11 United States Pottery " Ribbon
Mark.
No. 3. White Parian Door Plate, ornamented
with scroll and with opening in cen-
ter, for the insertion of owner's
name. Never marked.
52 HISTORY OF THE BENNINGTON POTTERY
No. 4. Parian Pitcher. Deep grey pitted body.
Ornamentation of boy carrying
small child across the stream. Height
9 inches. Mark: "United States
Pottery " Ribbon mark.
No. 5. White Porcelain Pitcher. Height 6 inches.
Peculiar shape caused by placing in
kiln before sufficiently dry. No
mark.
No. 6. Parian Pitcher. Grey ground, pond lily
pattern. Glazed inside. Height
7^4 inches. " United States Pot-
tery " Ribbon Mark.
No. 7. Parian Pitcher. Blue pitted back-ground.
Design acorn and leaves. Spout
formed as a trunk of a tree. Branch
handle. " United States Pottery "
Ribbon Mark.
No. 8. Small Figure, Parian. Girl lacing her
shoe. Height 3^4 inches. Never
marked.
No. 9. Sheep, small Parian on oval base. Un-
marked. " Cold-slaw " ornamenta-
tion.
No. 10. Recumbent sheep resting against tree-
trunk. On oval base. " Cold-slaw "
ornamentation.
No. 11. White Parian Ornament. Swan. Height
z,Y\ inches; width 5% inches.
HISTORY OF THE BENNINGTON POTTERY 53
No. 12. White Parian Bird on side of nest. Nest
contains three eggs.
No. 13. Large white Parian Escutcheon. Pear
shaped, 2>lA inches in width by 4^4
inches in height.
No. 14. Parian Ink-well, unglazed. Child reclin-
ing against the back-ground of a
rock. Top surmounted by a spread
eagle.
No. 15. Parian Sheep reclining on oval base.
Glazed. " Cold-slaw " pattern.
No. 16. White Parian reclining grey-hound. Un-
glazed. Rests on cushion-shaped
base, with tassels at the four corners.
No. 17. White glazed Parian Syrup Pitcher. Ivy
leaf design. Height 7 inches.
Glazed inside and outside. " United
States Pottery " Medallion Mark.
No. 18. Parian Drum-shaped Vase, on blue
pitted back-ground. Design Acan-
thus leaves. Height 5 inches.
No. 19. Small Parian Syrup Jug. Pewter lid.
Design of rose on white pitted back-
ground. Glazed inside, un-glazed
outside. " United States Pottery "
Ribbon Mark.
54 HISTORY OF THE BENNINGTON POTTERY
No. 20. White Parian Syrup Jug. Glazed inside.
Un-glazed outside. White design
of palms on white pitted back-
ground. Height 7^2 inches. Pew-
ter lidded. "United States Pottery "
Ribbon Mark.
No. 21. Parian Pitcher. Design of oak leaves
and acorns in white on blue pitted
back-ground. Glazed inside and out-
side. Branch handle. Lip forms
the trunk of a tree. Similar to No.
7. Larger size. Height 9 inches.
" United States Pottery " Ribbon
Mark.
No. 22. Parian Ink-stand in form of phrenologi-
cal head, bumps and marks divided
by blue lines. A very late piece.
1863.
No. 23. Small white Granite Pitcher. Decora-
tions of roses and scrolls in heavy
gold on white body. Height 2>ZA
inches.
No. 24. Parian Syrup Pitcher. Palm design in
white on a chocolate pitted back-
ground. " United States Pottery "
Ribbon Mark.
No. 25. Syrup Jug. Palm design in white on
deep chocolate pitted back-ground.
Heavily glazed outside as well as
inside.
HISTORY OF THE BENNINGTON POTTERY 55
No. 26. " Scrodled " Vase with scalloped top.
Height 9 inches. A most unusual
piece in scrodle ware.
No. 27. " Scrodled " Cow Creamer. Rare piece.
No. 28. Cream ware Pitcher, leaf pattern.
Branch handle. Height <)l/2 inches.
No. 29. " Scrodled " Pitcher. Tulip pattern.
Height 8 Ya inches. Mark: Oval U.
S. Pottery Mark. Impressed.
No. 30. " Scrodled " Tall Flower Vase or Celery
Goblet. Height 9 inches.
No. 31. Sugar Bowl. Grey Parian, heavily glazed
inside and out. Daisy pattern
with Medallion Mark: " Fenton's
Works, Bennington, Vt."
No. 32. Cream Ware Pitcher, with smeared
glaze of Milky Ware. No mark.
Height 634 inches.
No. 33. Parian Pitcher. Water-lily pattern.
Glazed interior, un-glazed exterior.
White with pitted back-ground.
Height gy4 inches. " U. S. Pot-
tery " Ribbon Mark.
No. 34. Three Porcelain Letters, "A.," " H.,"
" P.," for attaching to Bennington
door-plates.
56 HISTORY OF THE BENNINGTON POTTERY
No. 35. Large white Parian Figure of a Child at
Prayer. Kneeling on square base in
form of cushion with tassels on four
corners. Glazed.
No. 36. White Parian Pitcher. " Sunflower
pattern " on pitted back-ground.
Glazed interior, un-glazed exterior.
Height 8 inches. " U. S. Pottery "
Ribbon Mark.
No. 37. White Parian Poodle Dog. Basket of
fruit in mouth. " Cold-slaw " mane
and tip of tail. Extremely rare in
Parian ware.
No. 38. White Parian Pitcher. Rose design.
Branch handle. Lip formed as trunk
of tree. Height 9^2 inches. Medal-
lion Mark " Fenton's Works, Ben-
nington, Vt."
No. 39. White Vase. Height 5^4 inches. Flar-
ing at top. Banded alternate lines
of gold and plum color.
No. 40. The " Niagara or Water-Fall " Pitcher.
White Parian. Glazed interior.
Un-glazed exterior. First Parian
Ware made in the United States in
1846. "United States Pottery"
Medallion Mark.
HISTORY OF THE BENNINGTON POTTERY 57
No. 41. Granite Ware Water Pitcher. Dark
blue under glaze decoration of
grapes and grape-vines. Also, heav-
ily gilded roses in panel and on re-
verse the name " W. C. Morey from
H. A. W. " all in heavy gold 9
inches high.
No. 42. Granite Ware Pitcher. Heavy gilt deco-
ration. Roses in panel. On the re-
verse " Mrs. Mary A. Harwood "
in heavy gold.
No. 43. White Parian Vase. Heavily crackled.
Height 6 inches.
No. 44. Small Vase or Paper-holder. Circular.
Height 4% inches. Decoration blue
and gold bands.
No. 45. White Granite Ware. Toby bottle
from the Dewey Homestead, Ben-
nington Center, Vermont. Heavily
glazed and crackled. Height llj^
inches.
No. 46. Flint Enamel Chamber Candle-stick on
circular base. 5l/2 inches in diameter
2% inches in height. Flecked with
rare blue color.
No. 47. Flint Enamel Toby Bottle, 10 inches in
height. Broad brimmed hat. 1849
Mark.
58 HISTORY OF THE BENNINGTON POTTERY
No. 48. Flint Enameled Match-box. Mottled
and streaked. Brown glaze. Low
crowned hat forms the cover. 1849
Mark.
No. 49. Candle-stick, flint enamel. Height 6y2
inches. With rare orange, blue and
olive flecks of color. Tubular form
on spreading circular base.
No. 50. Bennington Flint Enamel Lion on base.
Smooth mane. Beautifully colored
olive green and brown shades. 1849
Mark.
No. 51. Flint Enamel Paper Weight. Small
poodle dog reclining on cushion-
shaped base. Brown in color. 1849
Mark.
No. 52. Candle-stick. Flint enamel. Tubular
form on spreading circular base with
mahogany, blue and green tints.
No. 53. Pair of Flint Enamel Shelf Supports
or Brackets in beautifully mottled
olive green color. Formed in scrolls
10 inches in depth by 524 m breadth.
No. 54. Cow Creamer. Deep mahogany color.
Flint enamel.
No. 55. Toby Bottle. Flint Enamel. Mahogany
color. Wide brimmed hat. 10^2
inches in height. 1849 Mark.
HISTORY OF THE BENNINGTON POTTERY 59
No. 56. Poodle Dog. " Cold-slaw " mane and
tip of tail. Basket of fruit. Of the
variety without the base. Rare.
No. 57. Flint Enamel Doe, reclining on oval
base. 1 1 )A inches long. Beautifully
mottled with orange and olive
colors. Bears the 1849 Mark.
No. 58. Companion piece to the above No. 57,
in the shape of the Stag reclining
on oval base. nj^ inches long.
With olive, orange and brown mot-
tling. 1849 Mark.
No. 59. Flint enamel Cow Creamer in light
brown and orange coloring.
No. 60. Flint Enamel Lion. The variety without
base. With " cold-slaw " mane. In
mahogany and olive colorings.
No. 61. Toby Jug. In form of a seated figure.
Grape-vine handle. Mahogany
coloring. 6y2 inches in height.
No. 62. Toby Jug. So-called " Benjamin Frank-
lin." Boot handle. Height 6 inches.
1849 Mark.
No. 63. Mate to No. $6. Flint Enamel Poodle
Dog.
No. 64. Child's Bank. Flint enamel. Shaped as
a Lady in crinoline skirts. Beauti-
fully mottled enamel in blue, orange
and mahogany.
60 HISTORY OF THE BENNINGTON POTTERY
No. 65. Flint Enamel Lion. " Cold-slaw " mane.
On base. Yellow and mahogany
tone. 1849 Mark.
No. 66. Toby Bottle. Flint enamel. Narrow
brimmed hat. Rarest of the two
varieties. Flecked with olive color-
ing. 1849 Mark.
No. 67. Flint Enamel Tulip-shaped Pitcher.
Covered spout. Rich colorings,
green, yellow and brown. Reeded.
Height $l/2 inches.
No. 68. Coffee pot. Flint enamel. Octagonal.
Dome shaped cover. Streaked with
olive, orange and brown. * Height
to top of finial, I2>4 inches.
No. 69. Flint Enameled Sugar Bowl. Octagonal
shape. Streaked with blue, brown
and yellow. Dome shaped cover.
Height 9 inches.
No. 70. Tea-pot. Octagonal flint enamel. Dome
shaped cover. Goes with Nos. 68
and 69. Height 9 inches to top of
cover.
No. 71. Octagonal Flint Enamel Coffee Pot.
Dome-shaped cover. Height 10^4
inches. Streaked glaze with orange,
blue and brown. 1849 Mark.
HISTORY OF THE BENNINGTON POTTERY 6 1
No. 72. Sugar-bowl, flint enamel. Brown glaze.
Speckled. 1849 Mark. Height 7^
inches.
No. 73. Goblet-shaped Vase on circular foot.
Fluted rim. Flint enamel. Height
6 inches.
No. 74. Flint Enamel " Greatbach " Hound
Handle Pitcher, in mahogany tone.
No. 75. Tall Goblet-shaped Vase, scalloped rim.
Streaked with blue and brown.
Height 10 inches.
No. 76. Bennington Book Bottle. Flint enamel.
Speckled orange, brown and blue.
5*/> inches by 4 inches. With " Fen-
ton's Works " Medallion Mark on
bottom leaf edge of book. (Marked
Bennington books are extremely
rare.)
No. 77. Flint Enamel Book Bottle, 11 inches by
8% inches. Streaked brown and
blue glaze. Marked " Bennington
Companion."
No. 78. Bennington Book Bottle. Flint enamel.
Marked "Life of Kossuth." $y2
inches by 4 inches. Streaked mahog-
any with fleckings of blue.
62 HISTORY OF THE BENNINGTON POTTERY
No. 79. Bennington Book Bottle. Flint enamel.
7 14 inches by 6 inches. Marked
" Bennington Companion." Streaked
brown and yellow glaze.
No. 80. Bennington Book Bottle. Flint enamel.
$y2 inches by 4 inches. Marked
" Hermit's Companion." Marked
books are extremely rare. Beauti-
fully flecked with orange and olive.
1 849 mark, impressed.
No. 81. Bennington Book Bottle. Flint enamel.
$l/2 inches by 4 inches. Marked
11 Departed Spirits." In dark glaze
of mahogany, blue and yellow.
No. 82. Bennington Book Bottle. Flint enamel.
8 inches by 5^ inches. Marked
" Life of Kossuth." Speckled
orange and olive.
No. 83. Goblet-shaped Vase with scalloped rim,
in a deep mahogany tone. Height
9 inches.
No. 84. Bennington Book Bottle. Flint enamel.
10^4 inches by 8*4 inches. Marked
" Bennington Battle." Superb speci-
men. Eight Bennington Book Bot-
tles, all different sizes and titles.
No. 85. Octagonal Flint Enamel Pitcher. Flar-
ing spout. " Figure Seven " handle
in mottled olive and yellow coloring.
Height 7I/2 inches. 1849 Mark.
HISTORY OF THE BENNINGTON POTTERY 63
No. 86. Same as 85. Height 6 inches. 1849
Mark.
No. 87. Flint Enamel Pitcher. Hunting scene in
relief. Branch handle. Heavy
brown glaze.
No. 88. Flint Enamel Pitcher with rare light
green and olive mottling. Diamond
shaped markings.
No. 89. Large Cylindrical Fluted Cracker Jar,
with cover. Flint enamel. Height
gl/4 inches. Diameter 6 inches.
Mahogany tone.
No. 90. Brown Flint Enamel Pitcher. Hexag-
onal form. Decorated with relief
of roses and leaves with impressed
Mark in straight lines, of " Norton
and Fenton, East Bennington, Ver-
mont." Very early specimen circa
1840. Extremely rare. Very early.
No. 91. Octagonal-shaped Pitcher. Flint enamel.
" Figure Seven " handle. Flaring
spout. Height 734 inches. Brown
tones with fleckings of blue. 1849
Mark.
No. 92. Brown Flint Enamel Pitcher. Sexag-
onal shape, with relief panel of
flowers and leaves. Extremely rare.
Mark the straight line " Norton and
Fenton, East Bennington, Ver-
mont." Rare Mark, circa 1840.
64 HISTORY OF THE BENNINGTON POTTERY
No. 93. Tulip-shaped Pitcher in Flint Enamel.
Height 834 inches. Speckled with
brown and yellow. A beautiful spec-
imen. The 1849 Mark.
No. 94. Brown Flint Enamel Pitcher. Sexag-
onal shape. Height SJ/2 inches.
Rose and grape decoration, in re-
lief. One tone mahogany coloring.
" Norton and Fenton, Bennington,
Vermont " Mark. The Circular
Mark.
No. 95. Flint Enamel Water Pitcher. Height
ioy2 inches. Streaked brown color-
ing.
No. 96. Flint Enamel Foot-Bath Tub. Olive,
brown and yellow. Blue streaks and
mottling. 18 inches by 14 inches.
1849 Mark.
No. 97. Goblet-shaped Vase. Fluted sides and
pedestal. Scalloped top. Height
10 inches.
No. 98. Flint Enamel Pitcher. Flecked with
green, brown and yellow. Diamond
shaped decoration on sides. Height
1034 inches.
No. 99. Pair of Curtain Knobs. Flint enamel.
Diameter 4 inches. Mahogany and
blue colorings. Rare.
HISTORY OF THE BENNINGTON POTTERY 65
No. 100. Flint Enamel Pitcher. Dark brown
mottling. Height 9 inches.
No. 101. Door Plate with lettering of name
" W. Johnson." Flint enamel.
Brown tone.
No. 102. Water Cooler. Flint enamel 16%
inches in height by 1 1 inches wide,
with pewter spigot. Brown tone.
In shape of a column, on an octag-
onal base. Fenton's Medallion
Mark.
No. 103. Flint Enamel Tile for Fire Set. 6^4
inches by %J/\ inches. 1849 Mark.
No. 104. Flint Enamel Water Pitcher. Octag-
onal. Height 1 1 inches. " Figure
Seven " handle. Rich mahogany,
blue and yellow coloring. 1849
Mark.
No. 105. Flint Enamel Pitcher and Wash-Bowl.
Extremely rare. Light green and
yellow streakings. Diamond-shaped
decorations on side of pitcher and
on inside of bowl. Very rare color-
ing.
No. 106. Flint Enamel Soap-Dish and Strainer
Octagonal shape. Olive and cream
coloring with 1849 Mark. Im-
pressed.
66 HISTORY OF THE BENNINGTON POTTERY
No. 107. Octagonal Flint Enamel Soap-Dish and
Strainer and Cover, in rich mahog-
any and yellow and cream color.
1849 Mark Impressed.
No. 108. Very Rare Pitcher and Wash-Bowl.
Tall octagonal shape. Height 12
inches. Flint Enamel. Rare and
beautiful coloring, blue, olive and
orange on a cream body. 1849
Mark Impressed. Very rare. Ex-
quisite coloring.
No. 109. Water Cooler. Flint enamel. Height
16 inches. Diameter 12 inches.
Octagonal sides composed of eight
columns, taken from the design of
the base of the Monument of Ben-
nington Ware, at Bennington, Ver-
mont. Around the top is the Mark
11 Lyman and Fenton, 1849."
jHarkfi of tip Ifetmutgfcm Jfotfrnj
Mwck* of tfje
Utenntttgtmt Jfattarg
Dr. Edwin A. Barber in his book on " Pot-
tery and Porcelain of the United States " states,
" that no attempt has ever been made to compile a
list of marks and maker's designs on American
wares. Unmarked pieces or undoubted genuine-
ness have been handed down to us carefully from
the time of our grand-parents, and by means of
these, the ceramic student may hope to be enabled
to penetrate the vail of uncertainty which sur-
rounds others.
Fortunately, we find now and then a spec-
imen bearing a mark among the productions of
discontinued factories of the last century. We can
at least commence now to gather together what is
still to be procured from the past and to collect
material for the history of the potter's art as it
exists in America in our own time.
Further delay would seem inexcusable,
because it would result in the loss of information
which, while now obtainable, could not be pro-
cured a few years hence.
70 HISTORY OF THE BENNINGTON POTTERY
No attempt has ever been made, so far as
we know, to compile a list of marks and maker's
designs on American wares."
The following list of the Marks of the
Bennington Pottery have been procured from the
Albert Hastings Pitkin Collection in the Morgan
Memorial, Hartford, Conn.
O
O
Mark I. " Norton & Fenton, Benning-
ton, Vt." Impressed on the Octagonal pitchers of
the " single glaze " Rockingham Ware.
Mark 2. This same mark also appears in
elliptical form on similar pitchers.
HISTORY OF THE BENNINGTON POTTERY 7 1
NORTON & FENTON
East Bennington,Vt.
Mark 3. " Norton & Fenton, East Ben-
nington, Vt." A brown glazed pitcher in the
Pitkin Collection bears this mark. This pitcher
and a stone ware jug, are the only pieces I have
ever seen bearing this extremely rare mark.
Mark 4. " Norton & Fenton."
\Fento/i'sWor/cs;l
Bennington,)
Vermonti
*
Mark 5. " Fenton's Works, Bennington,
Vt." Mark found on a few pieces of Parian ware.
Letters impressed in a raised panel.
72 HISTORY OF THE BENNINGTON POTTERY
Mark 6. " Lyman Fenton & Co. Fen-
ton's Enamel. Patented, 1849. Bennington, Vt."
This mark is used on Lyman & Fenton's Patent
Flint Enamelled ware in 1849. Impressed.
Mark 7. " The United States Pottery," in
three designs. No. 7 A called " the Ribbon
Mark " and was used at the United States Pottery
of Lyman and Fenton, Bennington, Vt., on parian
and porcelain about 1853. The letters and figures
are impressed in a raised ribbon. The figure to
the right varies on different pieces and was prob-
ably the pattern number.
HISTORY OF THE BENNINGTON POTTERY 73
TOTTERY Co.
Mark yB. Mark used on " scrodled " and
other ware made at the United States Pottery.
Impressed.
f u^h -
J& POTTERY CO. %&
%%&#*
M*r& 7C. "Medallion Mark" of the
United States Pottery Co., Bennington, Vt. See
" Water-fall " or " Niagara " Pitcher No. 40. in
the Pitkin Collection.
Also white Glazed Parian Pitcher. Ivy-
leaf design. Height 7 inches. Glazed inside and
out. No. 17 in the Pitkin Collection.
iEarlg Ammran 3Fulk JJottmj
ICtfit of Slhutratimta of ti\t
Earhj Attwriran Jolk fottog
Plate No. i.
Large Pitcher, Seymour Pottery,
1800 84
No. 2.
Stone Ware Jar. Marked " Good-
win and Webster." Height,
10^2 inches. 1820 88
No. 3- T . ,
Large Jar. Decoration: Incised
Eagle and Fish in relief. Yel-
low body with green and
black colors. Height, 8>4
inches. Seth Goodwin, West
Hartford, 1800 9°
No. 4.
Large Pie Plate, Wavy Lines.
Norwalk, Conn 92
No. 5-
Large Water Cooler. Marked:
" Hastings and Belding, Ash-
field, Mass." 94
78 LIST OF ILLUSTRATIONS
No. 6.
Covered Jar with Ear Handles.
Height, 10 inches. Pink
color splashed with brown.
Japanese style, Portland,
Maine 98
No. 7.
Sgrafitto Pie Plate, Presentation
Piece to Elisabeth Reiser.
Samuel Troxel, Potter, 1827.
Hanover, Montgomery
County, Pa. Inscribed and
signed and dated. 1 1 inches
in diameter. Yellow body,
green, red and brown color.
Tulip Decoration 104
No. 8.
Large deep Dish. Brown and
White Slip. Pennsylvania.
Decoration, Tulip Motive.
Diameter 12^ inches 106
No. 9.
Pitcher. " Hound Handle." Deco-
ration, Hunting Scene.
Grapes and Leaves 108
StttriAitrtiim
Mr. Albert Hastings Pitkin had been for
several years collecting material for the preceding
" History of the Bennington Pottery." He had
nearly completed it, when he was taken away by
death, October the fourteenth, Nineteen hundred
and seventeen.
His papers on it, and on the Early Ameri-
can Folk Pottery, which he was equally interested
in, were found, after his death, to be in such con-
dition, that it seemed possible to collate and pub-
lish them.
The completion of the work, has been done
by his wife, Mrs. Albert Hastings Pitkin, as a
Memorial to her husband.
Mrs. Pitkin begs leave to express her sense
of indebtedness to all who have contributed, in any
manner to the information contained in this book,
and desires particularly to express her thanks to
Mrs. Florence V. Paull-Berger, formerly of the
6
80 INTRODUCTION
Boston Museum of Fine Arts, now General Cura-
tor of the Wadsworth Atheneum, Hartford,
Conn., succeeding Mr. Albert Hastings Pitkin; to
Mr. George Francis Dow of Essex Institute,
Salem, Mass.; to Mr. Henry S. Gates of Chicago,
Ills.; to Dr. Edwin A. Barber of Pennsylvania
Museum, Fairmount Park, Philadelphia; to Mr.
Frederick J. Williamson of Montclair, New Jer-
sey; to Mr. Henry W. Erving and Mr. William
T. Pitkin of Hartford, Conn.; to Mrs. W. B.
Walker, Mrs. C. H. Emmons, Mr. William G.
Leake, Mr. George Robinson, Mr. Andrew Oat-
man, all of Bennington, Vermont.
The negatives (taken by Mr. William J.
Hickmott) of the various specimens of pottery,
are from the " Albert Hastings Pitkin Collec-
tions," in the Pottery Room of the Morgan Me-
morial at Hartford, Conn., and have been selected
as best illustrating the various classes of wares,
mentioned in the text.
Early Am*roan JMk
Patteg
In the Spring of 1884, while " China hunt-
ing " near Hartford, Conn., I picked up, at a farm
house, two pieces of " Red Clay Pottery," lead
glazed and slip decorated. Little information
could be obtained regarding them, except, that
they were, probably, more than fifty years old,
and at one time, quite common. At that time, I
knew of no such pieces in the hands of either
dealer or collector. Convinced from the first that
they were of home manufacture, I began to study
into the matter, and to quietly collect all similar
pieces available.
Research revealed, that like wares were
produced in large quantities in many localities of
the New England States, during a period from
about 1 77 1 to 1850. By the time I had obtained
82 EARLY AMERICAN FOLK POTTERY
some sixty or seventy examples, I observed other
collectors, as well as dealers giving their attention
to these wares. As a result it became scarce and
rapidly increased in value. Today, it is being
sought for, for Museum Collections.
By searching from Maine to Pennsylvania,
about two hundred pieces I have collected and
much valuable information relating thereto has
been acquired.
So that, by judging of materials used,
workmanship, glazes, decorations, etc., etc., one
may now with a reasonable amount of certainty,
classify these productions, allotting them to certain
states, and, even, townships, and in many instances,
to individual potters.
The Red Clay Pottery of New England
was rarely, if ever, signed by the potter; while the
Stone Ware frequently was. Examples obtained
from an aged potter, who learned his trade of his
grandfather, and sold me the pieces he knew were
made by each individual, have made it possible to
identify wares of that particular pottery.
In the Red Clay Pottery of the New Eng-
land States, and that of Pennsylvania, there were
many points in common, as to the materials used,
methods employed, etc. Still, to Pennsylvania, all
other States must " yield the palm " for variety,
elaborate ornamentation, and designs, as well as
for priority of production. The New England
potters were strongly influenced by the English,
while those of Pennsylvania, by the Germans.
EARLY AMERICAN FOLK POTTERY 83
In an old house in Braintree, England, also
in the Museum in Liverpool, England, I saw pot-
tery dishes, the material of which, the workman-
ship, color, etc., closely resembled these early pro-
ductions of New England. They were attributed
to the "late 17th, or early 18th Centuries" and
were of English make.
In the Rijks Museum, Amsterdam, Hol-
land, there is a dish, twenty-five and one-half
inches in diameter, elaborately decorated in slip,
with an inscription in Dutch, signed and dated
1770. My first impression of this piece would
lead me to pronounce it Pennsylvania, so strongly
does it resemble such wares, in all respects. By
such examples, one may easily trace the hereditary
influences on the early potters of the United States.
Prior to the American Revolution, crock-
ery of any kind, was by no means a common article,
in the New England home. Independence was not
only declared by the Colonies, but also enacted.
Home manufactures began in a small way. These,
encouraged by home demand and consumption,
aided by American energy and Yankee ingenuity
(which has proven well-nigh creative) and
fostered by a protective Tariff, have grown to ex-
ceed in importance those of any other nation on
Earth.
At first, attention was given to the manu-
facture of articles most needed for home use, re-
quiring only a small out-lay for the plant, and not
demanding highly skilled labor.
84 EARLY AMERICAN FOLK POTTERY
One can readily see, that during the last
quarter of the Eighteenth Century, numerous small
potteries sprang into existence, in the most popu-
lous centers through-out New England. These
produced, in comparatively large quantities, house-
hold utensils, low in price and made in great vari-
ety of form, size, and usefulness. Their crudeness
alone, makes them attractive, and on some we find
glazes and colors unexcelled, even by the renowned
Japanese potters.
Let me refer to a pottery, by way of local
interest in Hartford, Conn. This pottery stood at
the South East corner of Park Street and Quaker
Lane, Hartford West Division, as it was then
called. This was built and operated about 1790,
by Nathaniel Seymour (Plate No. 1). From the
late Major Seymour, a grandson of Nathaniel, I
obtained several pieces made at this pottery; some
was made by the Major, who learned the trade
from his Grandfather, succeeding him in business
and living in the ancestral home, where I inter-
viewed him, and from the attic of which the
pieces were brought forth. The Major related,
that up to about 1825, their out-put consisted of
the various domestic wares, made entirely of Con-
necticut clay, colored by the use of cobalt, iron,
manganese, copper, etc., mixed with various
clays. From Rocky Hill in near vicinity a sand
was obtained, which mixed in equal parts with red
lead, produced a glaze when fired.
Generally four men were employed at the
No. i.
EARLY AMERICAN FOLK POTTERY 85
wheels. The kiln was about ten feet in diameter
inside.
Firing lasted from twenty-four to thirty-
six hours and about the same time was required for
cooling off, before opening the kiln.
They fired a kiln about fifty times a year.
Assuming that it took the greater part of a week
for each kiln full, and that there were no " eight
hour laws " in those days, one wonders if they
knew the meaning of Vacation. We are led to be-
lieve that their Neuritis yielded to " Opodeldoc,"
and their Appendicitis to " Boneset tea." In those
days, men and women died " in the harness " and
but few " rusted out."
Pottery was retailed at the potteries, and
much was disposed of by peddlers from carts, as
they traveled through the State, taking various
kinds of farm produce in exchange, as the tin-
peddlers did up to about 1875.
Dishes of one gallon capacity, sold for one
dollar per dozen. Two gallon milk pans, for one
dollar and fifty cents per dozen. A piece must
needs have been large, especially well-potted, and
decorated, to have brought as much as two
" Yankee shillings."
Major Seymour said, that cotemporaneous
with this Seymour Pottery, were several in Hart-
ford, Fairfield, New London, New Haven, and
Windham Counties. Previous to 1800, the
Messrs. Goodwin had similar potteries in what is
now called Elmwood.
86 EARLY AMERICAN FOLK POTTERY
After 1830, the out-put of the Seymour
Pottery consisted chiefly of un-glazed flower pots.
This Pottery was moved " up the Lane " a quarter
of a mile, about 1840. Major Seymour moved
to Michigan in 1842, thence in 1849, to Ravenna,
Ohio, where in partnership with a Mr. Stedman,
they manufactured " Stone Ware," a specimen of
which, bearing their Firm mark, I have in my Col-
lection of Early American Folk Pottery. Major
Seymour served in the Civil War in the Seventh
Ohio Infantry, after the close of which, he re-
turned to his ancestral home and died there near
the close of 1903. Examples of the Seymour Pot-
tery will be found in my Collection of Early Amer-
ican Folk Pottery Room of the Morgan Memorial,
Hartford, Conn., Nos. 78, 80, 88, 90, 105.
One of the prominent potteries of early
days was the " Goodwin Pottery " of Hartford,
and West Hartford, Connecticut. Ozias Good-
win, the progenitor of the family of Goodwin, in
this country, was born in 1596 and md. Mary
Woodward of Braintree, England. He was first,
in Hartford, as a "Land-holder" in 1639 and
died in 1683. His first son, William, died in
Hartford in 1689. William's third child,
Nathaniel died in 1747. Nathaniel's fourth child,
Isaac, of West Hartford. Isaac's ninth child,
Ebenezer, b. in West Hartford, married Anne
Webster, of West Hartford, moved to New Hart-
ford about 1762-3 — Died May 18th, 1810.
Ebenezer's fifth child, Seth, b. Aug. 12th, 1772, in
EARLY AMERICAN FOLK POTTERY 87
New Hartford. He moved to Hartford, West
Division. He married 1795 and died Oct. 3rd,
1828. He was a Po»^r. Seth's second child was
Thomas O'Hara Goodwin, b. 1796, md. 1821.
He died July 6th, 1880. He was a Potter.
Thomas' fourth child was George Thomas Good-
win, b. 1837, married Susan F. Williams. From
Mr. George T. Goodwin, I obtained five pieces of
the Goodwin Pottery.
Ebenezer Goodwin, the father of Seth, the
Potter. His ninth child Pitts, was born in New
Hartford, married Miriam Gilbert in 1801. He
died Aug. 2nd, 1864. Their first child Harvey,
born in 1802 in New Hartford. He probably
learned the Potter's trade of his uncle, Seth Good-
win, or of his cousin, Thomas. In 1823, he
moved to Torringford and in 1827 to West Hart-
ford, and manufactured Pottery. He began the
Pottery business on his own account, in 1832, and
continued till 1870, when he transferred it to his
sons, Harvey Burdett Goodwin, and Wilbur El-
more Goodwin, who formed the firm of Goodwin
Brothers.
Ebenezer's fifth child was Seth. Ebene-
zer's tenth child was Horace H. Ebenezer's
grandchild by his ninth son, Pitts was Harvey.
Seth and Thomas H. had pottery in Hartford
West Division. Horace had a Pottery in Hart-
ford and the Firm name was " Goodwin and Web-
ster." He died in 1850. Harvey, "Goodwin
Brothers, Elmwood." (Plate No. 2.)
88 EARLY AMERICAN FOLK POTTERY
The list of the then famous Goodwin Pot-
ters is then, Seth, Thomas O'Hara, Horace, and
Harvey. Examples of the Goodwin potters in my
Collection in the Pottery Room of the Morgan
Memorial, Hartford, Conn., include a jug, marked
"Goodwin and Webster" 1818-20, "Webster
and Seymour " hot water bottle and Daniel Good-
ale about 1 8 1 8, " C. Webster and Son," 1826,
and others.
In this little treatise on Early American
Pottery, I shall confine my attention to the fictile
productions of the American Folk, and used by
American Folk, as exemplified in the work of our
English and European ancestors who were among
the early settlers in this country. The Pottery
made by the aborigines will have no consideration,
because it was an un-glazed ware and because it
belongs essentially to Ethnological study.
In the first half of the Seventeenth Cen-
tury, there were a number of potters in Virginia,
probably emigrants from England. The early
Dutch settlers in New York are said " to have
made a ware equal to that produced in Dellft,
Holland."
In a description of Philadelphia, published
in 1697, we read " Potters have sixteen pence for
an earthern pot which may be bought in England
for fourpence." One Joshua Tittery, came to
Pennsylvania from New-Castle-on-Tyne, in 1683,
and in his Will, calls himself a Potter. Dr. Daniel
Coxe, of London, a Proprietor of West New Jer-
No. 2.
EARLY AMERICAN FOLK POTTERY 89
sey, and afterwards its Governor, although he did
not come to America, had erected a pottery at
Burlington, New Jersey about 1685. This was
managed by his son, Daniel, and his Agent, John
Tatham. In the Bodleian Library, at Oxford,
England, is a manuscript relating to this Pottery,
which reads in part, as follows: — "I have
erected a pottery att Burlington for white and
chiney ware." " I have two houses and kilns with
all necessary implements."
It is certain that bricks were made in this
country, soon after the arrival of the first colo-
nists, although many were also imported to this
country from Holland and England in the Seven-
teenth Century. Flat roofing tiles, too, were made
by the Germans of Eastern Pennsylvania, in the
style of those used in their native country. These
were rectangular, curved at one end, with a slight
grooving on the upper side to allow the rain to
run off.
The body of the American Red Ware, is
of a fine, close texture, resembling somewhat, the
European un-glazed red pottery, such as was made
by Elers and his imitators. Some of it is simply
covered with a wash of lead, which deepens its
color. Other pieces have been dipped in a thin
slip, which only partially covers the clay, and gives
a mottled surface. This is very attractively ex-
emplified in some specimens of Connecticut Red
Ware. Again, streaks of orange, green or black
90 EARLY AMERICAN FOLK POTTERY
are introduced producing charming cloud-like
effects or " smoke-splashes."
To the kindness of Mr. Henry W. Erving
of Hartford we are indebted for the following
interesting extract from the Hartford Evening
Post of the date May 26th, 1883.
" Recollections of Albert Risley, a potter
for sixty years in Pottery No. 38 Front Street, of
Messrs. O. H. Seymour and Stanley B. Bosworth.
" From what I have heard in years gone
by some time previous to 1800, about 1790, John
Souter, an Englishman came to Hartford, and
built a pottery on the north-east corner of Potter
and Front Streets. He continued in the earthern-
ware manufacturing, until 1805, when he sold out,
to Peter Cross. Cross a few years later, removed
to 38 Front Street, having sold out the old place to
Horace Goodwin and McCloud Webster. Cross
met with little success and sold out to Captain
George Benton and Captain Levi Stuart, two re-
turned sea-captains.
" Daniel Goodale, Jr., came from
Whately, Mass., to manage the business, and in
18 18, purchased the pottery. He continued in
possession until 1830, when he sold out to Good-
win and Webster, who ran it, in connection with
their corner pottery. About 1850, the corner lot
was sold to D. F. Robinson, and the firm dissolved,
Mr. Webster continuing with his son, Mr. C. T.
Webster. Webster and Son were located at No.
38 Front Street and the business was quite success-
No. 3.
EARLY AMERICAN FOLK POTTERY 9 1
ful. Mr. Webster died in 1857 and O. H. Sey-
mour was admitted to the firm. About 1873, the
present firm, Seymour and Bosworth, was organ-
ized. Many years ago, Boston began to get her
eathernware from Hartford, and it was here that
the celebrated ' bean pots ' were made. Besides
these, cake-pots, butter-pots, tea-pots, flower-pots,
beer bottles, beer mugs, beer fountains, butter-
pails, water coolers and milk-pans."
In Gardner's Hartford City Directory for
May 3rd, 1840, is found the following list:
Henry Webster, Potter, h. Coles St.
M. C. Webster & Son, Pottery 27 — h. 18
Front Street,
T. D. & S. Boardman, Manufacturers of Block
Tin and Pewter Ware, No. 274^ Main Street,
Thomas D. Boardman, h. 274 Main Street,
Sherman Boardman (T. D. & S.), h. 67 Trum-
bull Street,
Andrew F. Hastings Dry Goods 219, h. 237
Main Street,
Benjamin Hastings, Collector of Taxes, h. 40
Village Street,
Henry Hastings, h. 35 Windsor Street,
H. and J. F. Pitkin, Jewellers, 211 Main, h.
East Hartford,
Potter Street from 13 Front, east to Dutch
Point,
City Officers, City Sheriffs, Benjamin Hastings,
Collector, Benjamin Hastings.
92 EARLY AMERICAN FOLK POTTERY
Hartford seems to have been the center
for the manufacture of Hollow Ware such as
jugs, crocks, pitchers, etc. — So, from Norwalk
came the heavy pie plates, decorated with wavy
lines of cream-colored slip, or with the owners
name. Mention is found of one Mr. Day of
South Norwalk, who owned a pottery about
1825.
Mr. George E. Webb of Norwalk stated
that the old Norwalk pottery sent out peddler
wagons through Westport to Bridgeport, about
i860. He also stated that about 1902 the " Old
Brick Pottery " building was restored and en-
larged and became a paper mill. There was also
a firm Asa Smith and Sons. One of the sons,
Elbert Smith, who was about seventy years old
when in correspondence with Mr. Pitkin in 1907,
was one of the potters of the firm. Some of this
pottery is dated 1859.
During the third week of August, 1908,
while at Ashfield, Mass., I found an old stone
ware churn with the following mark thereon, viz. :
11 HASTINGS & BELDING "
"ASHFIELD, MASS."
This mark was impressed on the upper front of the
churn. Upon inquiry, I found that a Stone-Ware
Pottery once existed at a place called " Tin Pot,"
so-called, because there was a tin-ware shop, as
well as a pottery, located there. This place is now
known as South Ashfield, Massachusetts.
No. 4.
EARLY AMERICAN FOLK POTTERY 93
To South Ashfield I went, eager for in-
formation and pottery. Of the former, I ob-
tained the following facts, from several of the
older inhabitants of the village, a leading one of
whom was Mr. Charles H. Day, well-known and
of great reputation as a maker of surgical splints.
Mr. Day told me that about 1 847-1 848, Walter
Orcutt built the pottery at South Ashfield, using
the firm name as a mark of their wares of " W. &
E. Orcutt & Co." Eleazur Orcutt attended to
the firing.
About 1850, they were succeeded by Wel-
lington Hastings, of Wilmington, Vermont, and
David Belding of Whately, Mass., under the firm
name of " Hastings & Belding." They failed
about 1854, and were succeeded by Staats D. Van
Loon, associated with George Boyden, from Con-
way, Massachusetts. They continued the works
until about 1856, when the pottery industry be-
came abandoned, probably, because of the coming
on of the hard times of 1857, also because of the
competition of the Bennington Wares.
The building was used as a black-smith's
shop until the Flood of December 10th, 1878,
which broke away the dam at Ashfield, destroyed
buildings in its path and swept away the old black-
smith's shop, formerly a pottery, leaving the roof
thereof in a lot below. The out-put of this pot-
tery seems to have consisted, entirely, of Stone-
Ware for house-hold uses, such as jugs, jars,
crocks and churns. They employed only six or
94 EARLY AMERICAN FOLK POTTERY
seven men, had but one kiln and three turners.
Most of the clay used, was brought from Perth
Amboy, New Jersey.
Mrs. John Luther Guilford, of South Ash-
field, Mass., stated that Wellington Hastings was
her uncle, and David Belding was her step-father.
Her maiden name was Harriet S. Stanley, daugh-
ter of Rufus Allen Stanley of Wilmington, Ver-
mont. Harriet Sophia Stanley, as a young girl
was frequently at the pottery and often at play
there, becoming the favorite of one Wight, the
principal turner, employed in the Pottery. For
her special use, Wight made a money-bank bearing
the inscription impressed, " Harriet S. Stanley,
1850. Aug. 17th." (This appears twice in paral-
lel lines across the bank.) Wight, also, made for
her, a miniature churn, complete, in grey Stone-
Ware ornamented in cobalt blue, and washed in-
side, with a leatherish brown color. This bears
the firm mark, " HASTINGS & BELDING "
"ASHFIELD, MASS."
On the reverse side, length-wise across the churn,
written in script, in cobalt blue reads "August,
1852 " (which strange to say, is the month and
year of my birth). This churn is now in my pos-
session, I having purchased same from Mrs. John
Luther Guilford in the presence of her husband, at
their house, Aug. 27, 1908, and it is in the Pitkin
Collection in the Morgan Memorial, Hartford,
Conn.
No. 5.
EARLY AMERICAN FOLK POTTERY 95
Among the South Norwalk products were
knobs for doors, furniture, and shutters, com-
posed of Red, White and Black clays, mixed to-
gether and covered with the brown Rockingham
glaze. Previously, pottery coat buttons had been
made. They were either moulded or pressed in
dies and had four perforations either for the
thread or a metal shank. They were of two quali-
ties, a coarse red body, covered with a light brown
glaze, and a fine white body, with a good mottled
glaze. There are specimens of both knobs and
buttons in the Pitkin Collection. Capt. Enoch
Wood, a cousin of the great Staffordshire potter,
was interested in this industry. He had first been
employed at the Bennington works, but left there,
to go to South Norwalk, where he became part
owner, in 1856. No buttons were made, however,
after 1853.
We find Records of Potteries in Connecti-
cut as follows :
At Norwalk, as early as 1780.
At Norwich, as early as 1796.
At Stonington, as early as 1798.
At Hartford and vicinity the last quarter of the
Eighteenth Century, witnessed the establishment
of several small potteries.
In Massachusetts, potteries were estab-
lished as early as the first quarter of the Eighteenth
Century, at Peabody. In 1765, Abraham Hews
established in Weston, Mass., the terra-cotta
works which later were removed to Cambridge.
7
g6 EARLY AMERICAN FOLK POTTERY
At first, bean-pots, pudding and milk pans, jugs,
etc., were made and exchanged for needed com-
modities. The business increased rapidly and be-
fore the fire in 1 891, it is claimed that more flower-
pots were made here, than in any other establish-
ment in the world. At that time, they specialized
in ornamental garden vases, jardinieres, etc., etc.
In the paper on " Early American Pot-
tery " which Miss Florence V. Paull read at a
Sunday afternoon lecture at the Metropolitan
Museum, New York, this winter, is the following:
" I am indebted to Mr. George Francis
Dow of the Essex Institute, Salem, for the fol-
lowing notes on the early industry, at Peabody,
Mass., and its vicinity.
Jonathan Kettle of Peabody, Mass., is
mentioned as a potter in 1731. His estate at 31
Andover Street was sold to Joseph Whittemore,
in the same trade, about 1765.
Joseph Osborne, 1702-1780, had a place
on Central Street and the business descended in
the family, from father to son, until the death of
William, in the second half of the nineteenth
century.
Miles Kendall (1796-1875), who when
he married in 1824, is said to have made jugs for
each of his brothers and sisters, instead of receiv-
ing wedding presents from them.
The mother of Joseph W. Reed, another
potter, was the daughter of Joseph Whittemore
already mentioned.
EARLY AMERICAN FOLK POTTERY 97
Connected with the factory of William
Southwick at 161 Lowell Street were his son
(1759-1828), and grandson James Chapman
Southwick ( 1 793-1 841). An almost black glaze
was the distinguishing mark of Southwick's prod-
ucts, of which the Essex Institute, Salem, has some
very excellent examples. Tea-pots, bottles, small
jars, mugs, etc., seem to have been the out-put of
this factory, rather than larger vessels. There are
a good many pieces in the Collection which bear
the maker's name; for instance, a " Stone ware "
jug, of the early form with a full rounded body
and a small neck, and base, is inscribed on the
shoulder ' Barnabas Edmunds and Co., Charles-
ton.' Another has ' L. & B. G. Chase Somerset.'
Presumably, Massachusetts.
It is interesting to know that Mr. Pit-
kin's love for this Folk Pottery was first aroused
by having given him a little jar, which was
brought from Salem, Mass. Perhaps it had been
made at one of these Peabody factories.
Very typical also of the pottery made at
Salem, is a brilliant red-brown lead glaze, on
which appear occasional heavy dark brown
splashes. So-called herb pitchers with flat covers,
and a few moulded lines around the body, were
made at Peabody. Beer mugs, and pitchers of
Stone Ware, rootbeer bottles with the dealers'
name on the front, large preserve jars, jugs
marked with their capacity /2 or 3 gallons, the
straight sided bean pot of red clay, glazed only
98 EARLY AMERICAN FOLK POTTERY
on the inside, and holding several gallons, pottery
churns with wooden plungers, huge milk pans,
stew pans, and pudding dishes were all in common
use in the Eighteenth and early Nineteenth Cen-
turies." (Miss Paull.)
There was quite a large pottery at Dan-
vers, Mass. Near Portland, Maine there was a
small pottery (Plate 6), where the rich colorings
of the glazes made there, about 1820, have never
been equalled, surpassed if equalled, by the other
makers of the early Red Clay Wares. Thus it is
that these potteries cited above, localize and period
the early beginnings of the making of American
pottery.
It is well known that early American pot-
tery was of only two varieties; all records and all
existing examples prove this. The first was gen-
erally known as Stone Ware, and was highly vitri-
fied, and salt-glazed. The second was generally
of a much softer body and glazed with lead. It
was commonly known as Red Ware. It is impos-
sible to decide as to the priority of date, of either
of these, except in the various localities of their
production. Clay used in the making of Red
Ware is abundant in many localities. This being
ordinary red clay thoroughly levigated and freed
from grit, such as bricks were made from; while
that needed to make the Stone Ware was blue clay,
not so freely found in New England as in New
Jersey and New York State. Hence, we are liable
to find the earliest pieces made in the latter two
No. 6.
EARLY AMERICAN FOLK POTTERY 99
states were Stone Ware, and those of New Eng-
land Red Ware. This was true, except in Con-
necticut, where the two varieties are about equally
divided.
The earliest known examples, from Penn-
sylvania and Virginia, are Red Wares. The kilns
required for the firing of Stone Ware were large,
and expensive to build, and the product demanded
considerable skill in the making. For Red Ware
the kilns were much smaller and less expensive, as
many of the earlier potteries were small affairs
and the wares less skillfully made and in some
cases, afforded a secondary occupation to farming,
oftentimes, not more than two or three men were
employed with a boy as a helper. We find the Red
Ware potteries the most numerous, and the exist-
ing examples of these wares, especially of the com-
moner shapes, more plentiful than Stone Ware,
notwithstanding the fact that the Stone Ware is
the most durable.
Crocks, jars, bottles, pitchers, milk-pans,
churns, mugs, ring-bottles, and ink-stands are
among the shapes, common to both wares. While
plates, bread-trays, bean-pots, furniture and door-
knobs, buttons, bowls, tea-pots, sugar-bowls, vases,
money-banks, toys, shelf-ornaments, are pieces
more closely identified with Red Ware.
Perhaps a short account of the old methods
employed in making pottery, may be of interest
as it will apply in a general way to the making of
all the American Red Ware which has been men-
100 EARLY AMERICAN FOLK POTTERY
tione'd. Even today, the processes are similar,
the appliances alone are less primitive.
In the fall of the year, the clay was dug
from the clay-pit and taken to the clay-mill to be
ground. This mill was an upright post, set with
several knives which revolved in a stationary tub,
or vat, and was turned by horse-power. Water
was mixed with the clay, and after about an hour's
grinding, it became a soft yellowish mass, which
was taken out on a bench and formed into rectan-
gular blocks. These weighed about one hundred
pounds a piece, and were closely piled in the cellar
of the shop, to keep them moist and to prevent
them from freezing. As the potter needed mate-
rial, it was brought from the cellar to the work-
bench, where lumps of the size required for use,
were cut off and kneaded thoroughly. All gravel
and foreign matter was picked out, and air bub-
bles removed by slapping. The potter next cut
off a smaller piece, sufficient for one pot or dish.
This he threw on the revolving table of the wheel,
shaping it with his hands and fingers, and smooth-
ing the outside with a small piece of wood or
leather. As a finishing touch, a wet sponge was
passed over both inside and outside. The wheel
was then stopped, a fine wire was passed under the
pot to loosen it from the board, and it was set
away to dry. After a few days, when thoroughly
dry, the base was smoothed off, and the handles
and the spouts applied.
EARLY AMERICAN FOLK POTTERY IOI
Next came the glazing, and if this was
not done at the right time, the glaze was liable to
peel off. The glaze was composed of lead, mixed
with water and a little fine clay. The inside of a
jar was glazed by pouring the liquid in, and whirl-
ing the pot around, until all spots were covered.
The remaining glaze was then poured out. The
out-side glaze was applied by dipping the object
into the liquid. After drying once more, the
object was fired in a kiln for about thirty-six hours,
and allowed to cool for a week.
The lead glaze could be darkened by add-
ing manganese, and a greenish tone was produced
by verdigris, which was often daubed on the ware
itself, giving it a mottled effect.
Pie-plates were made by rolling out the
clay-like dough, into thin cakes, which were cut
by a die cutter, into the proper sizes, and set away
to get partially dry.
Then the slip decoration was applied, and
beaten into the clay, making an even surface.
Now, the clay was allowed to become about half
dry, when it was ready to be shaped over the
heavy clay moulds and the edges trimmed and
finished with the " coggle " which made the ser-
rations seen on nearly all of these plates. When
perfectly dry, and after being slightly warmed, the
lead glaze was applied on the inside of the plates
only, by means of a large paint brush.
" Presentation pieces " did not have the
slip beaten in, because they were not for use. So
102 EARLY AMERICAN FOLK POTTERY
the decoration was allowed to stand out in slight
relief. These pieces, because they were intended
to be ornamental, were taken greater care of, and
are now more plentiful than the other pieces.
(Miss Paull.)
At the Exhibition connected with the
Hudson-Fulton Celebration in New York in 1909,
Mr. Pitkin sent twenty pieces of red clay wares
from his Collection. These twenty pieces were
made in the last quarter of the eighteenth and
first quarter of the nineteenth century, and were
selected particularly to show the variety of shapes,
sizes, colors, and decorations, and were from
Maine, Massachusetts, Connecticut and Pennsyl-
vania. Conventional pie-plates and flat wares
were avoided in this selection. From Maine were
sent from Mr. Pitkin's Collection No. 1, Mustard
Pot, No. 3. Round jug, No. 5. Pot, No. 6. Jug.
These all are from the vicinity of Portland,
Maine, and of exceptionally fine colors, for Red
Clay Wares.
From Massachusetts were sent No. 27.
small pitcher, No. 29. mug, No. 31. small mug.
These were selected because of their quaint shapes
and sizes.
From Connecticut were sent No. 67. lion
ornament signed "John Sanders 18 17 ", No. 80.
large water pitcher made at the Seymour Pottery,
West Hartford, about 1790, the color effect pro-
duced by yellow " splotches " shot with green.
No. 81. child's bank, with white slip decoration.
EARLY AMERICAN FOLK POTTERY 103
No. 164. black glaze jug, New London County.
No. 166. Cider pitcher, rare shape and color.
(Eastern Connecticut). No. 43. Jar. No. 54.
Pitcher, vine tracery in color. No. 5$. Mug,
Eastern Conn., green slip, fish motive. No. 57.
Tall cylindrical mug, dark chocolate. No. 58.
Small covered jar, fine coloring and tortoise-
shell effect. No. 64. Water-pitcher, " smoke
splotched " decoration.
From Pennsylvania were sent No. 150.
Preserve jar with rope handles. Dated 181 1.
Decoration an American eagle, fish and flowers in-
cised, and in green on a buff ground. No. 151.
Gourd shaped vase, splotched decoration in Japan-
ese taste. (The numbers refer to Mr. Pitkin's
Collection in the Pottery Room of the Morgan
Memorial, Hartford, Connecticut.)
This Collection consists of about two hun-
dred pieces, those of especially fine coloring may
be noted in Nos. 1, 2, 3, 5, 6, 11, 33} 34, 44, 50,
54> 57> 5$, 60, 64, 80, 99, 100, 137, 138, 150,
15h 153> *5S> 156, 160, 164, 166, 168. Those
showing the early period of Connecticut make,
are found under Nos. 50, 51, 52, $3, 54, 64, 80,
166. Examples of the less common shapes are
Nos. 1, 6, 11, 33, 34, 43, 54, 59, 67, 74, 80, 81,
99, 101, 102, 108, 149, 151, 152, 154, 155, 156,
160, 166, 168. Pieces made to order or Gift
Pieces are Nos. 38, 39, 41, 85, 95, 97, 98, 103,
106, 116, 117, and especially No. 170. Those
bearing potter's marks are Nos. 11, 12, 13, 15,
104 EARLY AMERICAN FOLK POTTERY
l6, 17, l8, 19, 20, 21, 22, 23, 67, Il8, 119, 122,
123, 125, 148, 152, 168, 170.
Particular attention is called to No. 170.
A pie plate (Plate 7) of Pennsylvana "Sgraf-
fito " ware extremely interesting. Dr. Edwin A.
Barber refers to this dish in his book entitled
" The Tulip Ware of the Pennsylvania German
Potters. Philadelphia, 1903," on page 168 and
on page 165, illustration No. 66, is given a com-
panion piece to it. Much interest centers around
this piece in-as-much as the plate mentioned on
page 165 was the first piece of this ware to attract
attention to the existence of incised, inscribed slip
ware made in the United States. This ex-
ample, No. 170, is well worthy of study, being
fine in color, workmanship, and design. It is a
Gift or Presentation piece, inscribed with the re-
cipient's name, dated on both sides. On the re-
verse side is scratched in the clay " Elizabeth
Reiser, 1827, in Upper Hanuker Township,
Montgomery County, Samuel Troxel, Potter."
with German lettering.
In incised or Sgraffitto ware, which is
peculiar to Pennsylvania, the red clay was covered
with a coating of white slip, through which the
design was cut, allowing the red clay underneath
to show. These designs were often partially
filled with other colors, green, brown, red, etc., etc.
Inscriptions formed borders around the
edges and often included the date or the owner's
name.
No. 7.
EARLY AMERICAN FOLK POTTERY IO5
George Hubener was one of the Pennsyl-
vania German potters who used this style of deco-
ration and was one of the most elaborate. The
exact location of his pottery is not known but the
family name was at one time common in Mont-
gomery County, Pennsylvania, about 1793.
Another Pennsylvania German potter was Joseph
Smith, who began business about 1763.
To Pennsylvania must be given the first
place in the development of the Early American
Pottery. This was the " most interesting of all
the States in this industry, from 1733 to the
middle of the Nineteenth Century." Dr. Edwin
A. Barber of Philadelphia has written very ex-
haustively on this subject. In Miss Florence V.
Paull's Lecture on " Early American Pottery "
she states the following: "The most decorative
and interesting of the early American Potteries, is
that made by the German settlers in Pennsylvania
from 1733 to the middle of the Nineteenth Cen-
tury, and thanks to Dr. Barber's researches, many
facts have come to light regarding it. The name
' Tulip Ware ' had been given to it, because of the
frequent use of the tulip as an element in its deco-
ration. The first discovery of this was made by
Dr. Edwin A. Barber, in 1891, when he found
that a sgraffitto, decorated pie plate which he had
supposed European, had an inscription around the
edge, in Pennsylvania Dutch, a distinct German
dialect, mixed with English.
106 EARLY AMERICAN FOLK POTTERY
This plate was the nucleus of what is
now the most complete Collection of this Pottery
in this country. Many of the pieces he obtained
from descendants of the makers, and the informa-
tion that came with them has helped to identify the
work of some of the numerous potteries, which
were known to exist in Eastern Pennsylvania. The
earliest German immigrants to Pennsylvania came
from the Upper Rhine in 1683. They continued
to arrive in large numbers from the provinces and
cities to the east and west of the Rhine and from
Switzerland, until about 1727, after which immi-
gration increased enormously up to the Revolution.
The large number of foreigners, entering the port
of Philadelphia, so alarmed the officials, that they
required all masters of vessels to prepare lists of
their passengers, and all foreigners were obliged
to sign a Declaration of Allegiance and Subjection
to the King and of Fidelity to the Proprietary of
Pennsylvania. Many of the first German settlers
were well-to-do and besides paying all the expenses
of their journey to America, they bought large
tracts of land after their arrival.
About 17 1 7, however, the masses of the
poorer classes began to come, excited by the favor-
able accounts sent back by those who had preceded
them. No doubt, potteries were soon established,
to supply house-hold needs. But the earliest piece
so far known, is dated 1733 (a shaving basin).
The Rhine provinces were a great producing sec-
tion, and it naturally followed that the wares made
No. 8.
EARLY AMERICAN FOLK POTTERY 107
by the peoples from that section should closely
resemble what they had made in their native land.
The potters in the vicinity of Philadelphia, little
by little were obliged to move farther to the
west in the State.
Three techniques were employed in the
decoration of the large plates which are more fre-
quently found, than Hollow ware, although there
are several such pieces, in a very large and com-
plete Collection at the Pennsylvania Museum.
These types of decoration are slip,
scratched or incised (called sgraffitto) and
moulded. The last is the least common.
Slip is clay usually yellowish white in
color, which has been mixed with water, until it
is of the consistency of cream, and can be poured
from a slip-cup or bottle. Some were of clay, wjtlL,
indented sides and one or more openings at Tthe
end, into which quills were inserted, through
which the slip flowed. Another opening on top
could be opened or closed, by the finger, thus regu-
lating the stream. Some cups had as many as
three quills and these were employed to trace the
wavy parallel lines found on many plates.
The slip and sgraffitto wares made by
John Leidy were among the best produced in the
country. He died in 1838.
David Spinner born of Swiss parents in
1758 was considered quite an artist in his day and
did all of his own decorating. He continued in
the business until the close of his life in 18 11.
108 EARLY AMERICAN FOLK POTTERY
His family were prominent in Buck's County, and
he, himself, a Justice of the Peace for many years.
Many of Spinner's signed pieces exist." (Miss
Paull.)
Johannes Neesz (Nase) was a Pennsyl-
vania potter born 1775, died 1867. Jacob Schell
worked as early as 1830, also a Pennsylvania
potter, and also, David Haring about 1840 and
Jacob Taney of Buck's County.
Back of Old City Hall, New York, in
1735, John Remmy had a Stone Ware factory.
The business continued until 1820, when a great-
grandson of the founder, moved to South Amboy,
N. J., and opened a pottery there. A little earlier
another grandson had started a factory in Phila-
delphia, which is flourishing at the present time.
Israel Seymour made stone ware in Troy,
N. Y., from about 1809 to 1865, and at Albany,
Paul Cushman, a contemporary of Seymour, made
salt-glazed pottery. These are some of the small
potteries, that were turning out utilitarian wares
in the Eighteenth and at the beginning of the
Nineteenth Century.
After the middle of the Nineteenth Cen-
tury, potteries began to flourish in many parts of
the United States, particularly, in New Jersey,
and New York, while in Aiken, South Carolina,
the Southern Porcelain Company did a successful
business until destroyed by fire in 1863 or 1864.
Trenton, New Jersey and East Liverpool, Ohio
were, and still are, great centers of Ceramic indus-
No. g.
EARLY AMERICAN FOLK POTTERY 109
try. In East Liverpool, it is said that about half
of the inhabitants are interested in the forty (odd)
factories, where pottery and its accessories are pro-
duced on a large and profitable commercial basis.
Notes on the Pitkin and Woodbridge Pot-
tery at Manchester Green, Conn.
The first William Pitkin, b. 1635, md.
1661, died 1694, md. Hannah Goodwin, b. 1637,
died 1724.
Second child, William, b. 1664, md. 1686,
died 1723. Elizabeth Stanley, b. 1669, died 1751.
Fifth child, Col. Joseph, b. 1696, md.
1729, died 1762; md. Mary Lord, b. 1702, died
1740.
Eighth child, Capt. Richard, b. 1739, md.
1758, died 1799; md. Dorothy Hills, b. 1731, d
1826.
First child, Richard, b. 1759, md. 1782, d.
1822; md. Abigail Loomis, b. 1758, d. 1838.
Second child, Elizabeth, b. 1785, md.
1800, d. 1839; md. Dudley Woodbridge, b. 1783,
d. 1844. Dudley Woodbridge was a brother of
Wells Woodbridge, who was the first postmaster
at Manchester Green. They were sons of Deodat
Woodbridge. Deodat Woodbridge and his son
Dudley, kept the Woodbridge Tavern.
HO EARLY AMERICAN FOLK POTTERY
Esther Wells Woodbridge, b. 1820, tenth
child of Elizabeth Pitkin and Dudley Woodbridge
m. Ralph Cone, b. Oct. 20, 18 18.
In conversation with Mr. Ralph Cone, in
July, 1909, he gave me the following information
relative to the Pitkin and Woodbridge Pottery,
of Manchester Green, Conn. :
" On the south side of the street, extending
east from Manchester Center to Manchester
Green, tracts of land were owned by Richard Pit-
kin. Near his residence, a mile east of the Center,
was the chief place of business at the time of the
Revolution. The settlement contained a store, a
tavern, a black-smith's shop, a pottery, and a glass
factory. (See Memorial History of Hartford
County, Vol. 2, page 246, by Rev. S. W. Rob-
bins). Near the Pitkin Glass Works and a little
north-west of the same was a pottery (probably
for Stone Ware, only) , where were made jugs,
jars, churns, bottles (barrel-shaped). A dozen
men were employed here, and they fired one kiln.
" The firm was ' Pitkin and Woodbridge,'
Richard Pitkin and Dudley Woodbridge, son-in-
law of Richard Pitkin. The clay came from Mr.
Pitkin's lot, about a quarter of a mile east of the
house of Aaron Cook, Jr., and it was known as
the ' clay-hole piece.' "
On September 25th, 1909, on Saturday
afternoon, I visited Mr. Ralph Cone again, and
bought from him a salt-glazed stone ware jar,
with " ear handles." It is ten inches high, five
EARLY AMERICAN FOLK POTTERY 1 1 1
inches the diameter of the base, six and a half
inches diameter across the top (intended, but not
exactly round). Top edge, three eighths of an
inch in thickness. This jar was given to Mr.
Ralph Cone's wife, Esther Wells Woodbridge, by
her mother, Elizabeth Pitkin Woodbridge (Mrs.
Dudley Woodbridge) and was made at the " Pit-
kin and Woodbridge " Pottery, Manchester
Green, Conn.
GJatalngu?
OF
iEarlg Ammran 3falk ftotierg
Qlatalngue
of
QJlje iEarlg Am*nratt Stalk Pottenj
Sty? Albert Sjasltnga ptktn <EoU*rtum
in tlje
ilargan Ufottwral, ^arffnrh, Qlnnn.
No. i. Mustard pot. Rare russet color. Port-
land, Maine.
No. 2. Snuff jar. Choice color and mottling.
Portland, Maine.
No. 3. Jug. Golden green. Portland, Maine.
No. 4. Pitcher, circa 18 15. Portland, Maine.
No. 5. Pitcher. Seal brown and emerald green.
Color and glaze unusual. Portland,
Maine.
No. 6. Jug. Exceptional Japanese effect in color
and glaze. Portland, Maine.
No. 7. Jug. " Smoke splotches." Portland,
Maine.
Il6 EARLY AMERICAN FOLK POTTERY
No. 8. Jardiniere-shaped crock. Line decoration.
Maine.
No. 9. Jug. Mottled glaze. Maine.
No. 10. Jug. Maine.
No. 11. Tea-pot. Black glaze. Medallion of
Bolivar. Signed " John Mann Rail-
way " circa 1830, N. J.
No. 12. Pitcher. Black glaze. Metallic lustre.
Signed " Geo. Hamlyn, East Lake
Pottery. Bridgeton, N. J.". 2nd
Quarter 19th Century.
No. 13. " Toby " pitcher. Signed "American
Pottery Co., Jersey City, N. J."
circa 1840.
No. 14. Shaving mug. N. J.
No. 15. Toilet pitcher. Flint enamel. Tortoise-
shell decoration. Signed " Lyman,
Fenton & Co. Fenton's Enamel,
Patented 1849, Bennington, Vt."
Toilet bowl. (Same as No. 15.)
17. Soap dish. (Same as No. 15.)
" Toby " bottle. (Same as No. 15.)
" Toby " bottle. (Same as No. 15.)
Water pitcher. (Same as No. 15.)
Toilet bowl. (Same as No. 15.)
Water pitcher. " Scrodled " ware.
Signed " United States Pottery Co.
Bennington, Vt." Circa 1850.
No. 23. Hound handle pitcher. Hunting scene
in relief. Signed " Nichols & Al-
ford, Manufacturers, Burlington,
Vt., 1854."
No.
16.
No.
17-
No.
18.
No.
19.
No.
20.
No.
21.
No.
22.
EARLY AMERICAN FOLK POTTERY II7
No. 24.
No. 25.
No. 26. Barrel-shaped spirit flask. Mass.
No. 27. Cream pitcher. Mass.
No. 28. Pitcher. Mass.
No. 29. Mug. Circa 1820. Mass.
No. 30. Quart pitcher, circa 1825. Mass.
No. 31. Small pitcher. Mass.
No. 32.
No. 33. Fruit dish. Molded sides, green and
russet glaze. 2nd quarter 19th Cen-
tury. Maine.
No. 34. Bowl. Fine glaze circa 1825. Conn.
No. 35. Small pitcher. Conn.
No. 36. Small jug. Conn.
No. 37. Cake mold. " Spiral flute." Conn.
No. 38. Spice jar. Marked in yellow slip. " D.
H:" Conn.
No. 39. Straight sided jar. Marked " 29 " in
slip. Conn.
No. 40. Preserve jar with cover. Conn.
No. 41. Spice jar. Marked " H. A" in slip.
Conn.
No. 42. Small jar. Conn.
No. 43. Jar. Light-brown glaze. Conn.
No. 44. Jar. Dark-brown glaze. Conn.
No. 45. Covered jar. Conn.
No. 46. Preserve jar. Unusual shape. Incised
lines. Early 19th Century. Conn.
No. 47. Jar. New London Co., Conn.
I I 8 EARLY AMERICAN FOLK POTTERY
No. 48. Covered jar. " Smoked splotched."
Norwich, Conn.
No. 49. Jar, ear handles. Norwich, Conn.
No. 50. Pitcher. Black glaze. Circa 1800.
Conn.
No. 51. Small mug. " Strap handle " circa 18 10.
Conn.
No. 52. Cup. Slip decoration. Early 1800.
Conn.
No. 53. Pitcher. Conn.
No. 54. Pitcher. " Strap handle." Rare shape,
color and glaze, circa 18 10. Conn.
No. 55. Mug. Green slip decoration. Eastern
Conn.
No. 56. Small cream pitcher. Conn.
No. 57. Tall drinking mug. Windham Co.,
Conn.
No. 58. Preserve jar. Exceptional color and
glaze. Tortoise-shell effect. East-
ern Conn.
No. 59. Small cup. Conn.
No. 60. Drinking cup. Marbled glaze. Conn.
No. 61. Bottle. Conn.
No. 62. Bottle. Flat Sides. Conn.
No. 63. Bottle. Conn.
No. 64. Pitcher. Black on orange. Fine shape,
color and glaze. Early 19th Cen-
tury. Conn.
No. 65. Canister. New London Co., Conn.
No. 66. Spirit flask. Conn.
No. 67. Figurine, lion. Signed " John Sanders,
1817." Conn.
EARLY AMERICAN FOLK POTTERY 119
No. 68. Jar. Orange and black glaze. Conn.
No. 69. Jar. Glazed inside only. 1st quarter of
the 19th century. Hartford, Conn.
No. 70. Small bottle. Glazed inside only. Conn.
No. 71. Small jar with handle. Conn.
No. 72. Small jar with handle. Conn.
No. 73. Bean pot with cover. Conn.
No. 74. Melon-shaped jar. Very dark glaze.
Circa 1825. Eastern Conn.
No. 75. Covered preserve jar. Conn.
No. 76. Crock. Glazed inside. Conn.
No. 77. Small jug. Conn.
No. 78. Straight-sided crock. Seymour Pottery.
Hartford, Conn.
No. 79. Small crock. Glazed inside. Conn.
No. 80. Large melon-shaped pitcher. Light
brown glaze, yellow slip splotches
shot with green. Seymour Pottery.
Hartford, Conn, circa 1800.
No. 81. Money bank. White slip decoration.
Conn.
No. 82. Decorated vase. Circa 1850. Conn.
No. 83. Cream pitcher. Conn. Circa 1850.
No. 84. Cider mug. Unglazed. Early 19th
Century. Conn.
No. 85. Plate. Slip. Marked " Sarah's Dish."
Conn.
No. 86. Meat dish. Slip decorated. Marked
xv (Size.) Conn.
No. 87. Meat dish. Conn.
No. 88. Milk pan. Seymour Pottery, Hartford,
Conn. Early 1800.
120 EARLY AMERICAN FOLK POTTERY
No. 89. Milk pan. Conn. Early period.
No. 90. Milk pan. Seymour Pottery. Hartford,
Conn. Early 1800. (Same as
No. 88.)
No. 91. Deep dish. 15 inches. Conn.
No. 92. Same as No. 91.
No. 93. Plate. Conn.
No. 94. (None.)
No. 95. Presentation dish. " James Gordon Ben-
nett " in yellow slip. Conn.
No. 96. Plate. Conn.
No. 97. Plate. " O. K. " 1843 m Sreen snP-
Conn.
No. 98. Dish. " Cup." Conn.
No. 99. Small plate. Deep orange glaze. Conn.
No. 100. Small plate. Russet glaze. Conn.
No. 1 01. Oval fruit dish. Variegated slip deco-
ration. Conn.
No. 102. Bread tray. Serpent decoration. Conn.
No. 103. Pie plate. "A. B. C." Conn.
No. 104. Pie plate. Unused, circa 1840. (Late
period.) Conn.
No. 105. Pie plate. Seymour Pottery. (Late
period. Circa 1835. Conn.
No. 106. Pie plate. "Mince Pie." Norwalk
Pottery. Conn.
No. 107. Deep dish. Circa 1840. Conn.
No. 108. Bowl. Conn.
No. 109. Small milk pan. Conn.
No. no. Plate. 1st quarter of the 19th Cen-
tury. Conn.
EARLY AMERICAN FOLK POTTERY 121
No. in. Same as No. 110.
No. 112. Same as No. no.
No. 113. Plate. Conn.
No. 114. Plate. Conn.
No. 115. Plate. Conn.
No. 116. Small plate. "Cook." Conn.
No. 117. Small plate. Initialed. Conn.
No. 118. Potters mold. "J. B. G." 1833.
Conn.
No. 119. Potters mold. " M. Smith & Sons."
Norwalk, Conn.
No. 120. Furniture knobs. Norwalk, Conn.
circa 1850. Conn.
No. 121. Coat buttons. Tortoise-shell glaze.
So. Norwalk, Conn. 1825.
No. 122. Stone ware pitcher. "Goodwin &
Webster " Hartford, Conn. Circa
1820.
No. 123. Stone ware hot water bottle. Web-
ster & Seymour." Hartford, Conn.
Circa 1830.
No. 124. Stone ware pitcher. Blue decoration.
Conn.
No. 125. Small stone ware jug. " D. Goodale."
Hartford, Conn. Circa 18 10.
No. 126. Gray stone ware scent bottle. Conn.
No. 127. Stone ware gallipot. Conn.
No. 128. Flower pot and saucer, pie crust edge.
Conn.
No. 129. Large melon-shaped jar. New London,
Conn.
122 EARLY AMERICAN FOLK POTTERY
No. 130. Candle stick. Elaborate modelling.
Rockingham ware. Ohio.
No. 131. Pair of ink-stands. Ohio.
No. 132. Ink-stand. Grotesque modelling. Ohio.
No. 133. Custard cup. Circa 1850.
No. 134. Same as No. 133.
No. 135. Pitcher. Penn.
No 136. Tea-pot tile. Penn.
No. 137. Deep dish. Light body, combed deco-
ration. Probably So. Penn.
No. 138. Same as No. 137.
No. 139. Same as No. 137.
No. 140. Plate. Conn.
No. 141. Same as No. 140.
No. 142. Deep dish. Serpent decoration, green
and yellow slip. Penn.
No. 143. Elaborately ornamented dish. Molded
and impressed decoration. Mottled
glaze. Penn. 2nd quarter of the
19th Century.
No. 144. Toy pitcher. Penn.
No. 145. Toy jug. Penn.
No. 146. Large mug. Seal brown. Penn.
No. 147. Small pitcher. Penn.
No. 148. Sugar bowl. " J. S. Henne." Circa
1850. Penn.
No. 149. Small deep dish. Penn.
No. 150. Jar. Straight sides. Twisted ear han-
dles. Elaborate incised decoration.
Dark green on buff ground. Eagle,
fish and flower motive. Dated 181 1.
Penn.
EARLY AMERICAN FOLK POTTERY 1 23
No. 151. Bottle-shaped vase. Rare tortoise-shell
effect. Purplish splotches on light
buff ground. Penn.
No. 152. Small covered pitcher. Reddish brown
glaze, colored slip decoration. Penn.
No. 153. Small jar, ear handles. Mottled brown
glaze. Slip decoration. 1st quarter
of the 19th Century.
No. 154. Stand for Betty Lamp. Penn.
No. 155. Small plate. Buff slip on dark glaze.
Penn.
No. 156. Deep plate. Tooled Marly. Colored
slip decoration. Penn.
No. 157. Compressed octagonal dish. Green &
white slip decoration. Dated 1839.
Penn.
No. 158. Penn. Tulip ware dish. Glaze badly
flaked.
No. 159. Large deep dish. Brown and white
slip decoration. Tulip motive. Penn.
No. 160. Money bank. Unusual color and glaze.
No. 161. Water pitcher. First Parian ware made
in the U. S. A. Marked " United
States Pottery Co., Bennington, Vt."
circa 1846.
No. 162. Goblet vase. Flint enamelled ware,
Bennington, Vt.
No. 163. Toby jug. Flint enamelled ware, Ben-
nington, Vt.
No. 164. Black glazed jug. Conn. Circa 1820.
No. 165. Large preserve jar. New London,
Conn.
124 EARLY AMERICAN FOLK POTTERY
No. 1 66. Water pitcher. Unusual glaze and
color. Norwich, Conn. Circa 1810.
No. 167. Bread tray. Norwalk, Conn.
No. 168. Foot bath. Choice example of Ben-
nington ware. Marked and dated
1849, Vt.
No. 169.
No. 170. Sgraffito pie plate. Presentation piece
to " Elizabeth Reiser " by " Samuel
Troxel, Potter, 1827." Upper
Hanover township, Montgomery
County, Penn. Inscribed, signed and
dated.
No. 171. Jar. New London Co., Conn.
Potters:
D. Goodale.
Goodwin and Webster, jug. 18 18-1820.
Webster and Seymour, hot water bottle.
C. Webster and Son, 1 826-1 830.
Norton and Russell, about 1826.
To order or Gifts:
Nos. 95, 97, 98, 116, 117, 85, 38, 41, 39,
103, 106.
Dated:
67, 97, 118, 119, 150, 157.
Potters' Marks:
15, l6, 17, 21, 23, 20, 22, 18, 19, I48, 67,
II, 12, 13, Il8, II9, 122, I23, 125,
I52, l6l, l68.
EARLY AMERICAN FOLK POTTERY I 25
Conn. Shapes:
43, 34, i55> 154, 74, 54, 33, 59, 80, 160, 6,
81, 151, 11, 101, 108, 99, 156, 67,
149, 152, 166, 168, 102.
Colors. Greens, browns, grays.
J, 2, 3, 4, 5, 6, 7, 8, 9, 10, Maine. 164,
166, 137, 138, 139, 99, 100, 155, 56,
34, 54, 64, 58, 44, 32, 80, 160, 151, 50,
57, 60, 153, 11, 150.
2l?00htii0n0 mtb ©rttmfta
TO
Mv. Albert lastinga f ttkttt
Slnhutaa
The following Tribute to Mr. Albert
Hastings Pitkin of the Morgan Memorial, Hart-
ford, Conn., was paid by Miss Florence V. Paull-
Berger at a lecture given by her at the Metropoli-
tan Museum, New York, January 13, 19 18. The
topic of her lecture was " Early American Pot-
tery " and Mr. Pitkin had been asked to give the
lecture, but died October 14th, 19 17, and Miss
Paull was asked to supply his place.
" The recent death of Mr. Albert Hast-
ings Pitkin, Curator of the Morgan Memorial of
Hartford, Conn., who was to have spoken to you
today was a great loss not only to the Museum
world, but also to all who are interested in the
study of Early American Art.
Mr. Pitkin and his close friend, Dr.
Edwin A. Barber for many years Director of the
Penn Museum at Philadelphia, whose death oc-
curred a short time before Mr. Pitkin's, had to-
130 TRIBUTES
gether specialized in the study of American Pot-
tery and were widely recognized as experts on
the subject.
As early as 1893 Dr. Barber had pub-
lished his volume on ' The Pottery and Porcelain
of the United States,' which covers the history of
the Ceramic country from the period of the Ameri-
can Indian to the later years of the 19th Century.
No work on the subject has since been written
which can supersede it.
Dr. Barber's chief interest was in the
decorated wares of the German settlers in Penn-
sylvania and he published a monograph on Tulip
Ware (as it is called), of the Pennsylvania Ger-
man potter, in which the subject is very thoroughly
treated. For many years he has been gathering
fine examples of this Pottery for the Penn
Museum and the Collection there is unrivalled as
far as I know.
Mr. Pitkin's studies were devoted to the
wares made in New England such as the Stone
Ware and Red glazed wares of Connecticut, and
the productions of the United States Pottery at
Bennington, Vermont. Like Dr. Barber, he col-
lected steadily along the lines where his interest
lay, and his Collection of choice examples of Red
Ware and Bennington may be seen in the Morgan
Memorial at Hartford where his recent installa-
tion of the beautiful objects presented to the
Museum by Mr. J. P. Morgan cannot fail to
impress all visitors.
TRIBUTES 131
In speaking to you on Early American
Pottery, I feel that it is quite impossible for me
to take the place of one who was such an
authority on the subject, and who had studied the
New England Folk Pottery with such enthusiasm.
It is interesting to know that Mr. Pit-
kin's love for this ' Folk Pottery ' was first
aroused by having given him a little jar which was
brought from Salem, Mass., by his wife.
Mr. Pitkin did not limit his Collection
of Red Ware to that made in Connecticut, but in-
cluded some of the Pennsylvania and New Jersey
products. I have already mentioned Mr. Pit-
kin's unrivalled Collection of Bennington, Vt. Pot-
tery in the Morgan Memorial, Wadsworth Athe-
neum, Hartford, Conn."
Mrs. Florence V. Paull-Berger succeeded
Albert Hastings Pitkin, as Curator of Wadsworth
Atheneum, June first, 191 8, after many years' con-
nection with the Museum of Fine Arts, Boston,
Mass.
Dr. F. W. Gunsaulus, President of The
Armour Institute of Technology of Chicago writes
in a recent letter:
" No one has passed out of my life in re-
cent days except Dr. Barber, whose presence was
more beneficent and loved than that of Albert H.
Pitkin His great Memorial is in
the heart of his friends and in the work he did in
the City of Hartford."
132 TRIBUTES
In connection with the work of installing
the Morgan Collection at the Morgan Memo-
rial, Hartford, Mr. J. P. Morgan writes: —
" I was very much interested in the way
in which Mr. Pitkin worked out the installation in
the Museum and very grateful to him for the skill
and ability that he has shown in that arrange-
ment."
Henry R. Howland of Buffalo, New York,
President of the American Association of
Museums, writes:
" Through his connection with the Ameri-
can Association of Museums I had learned to
know Mr. Pitkin quite well, and it is a sense of
personal loss that comes to me, now that he has
been taken from us. His quiet ways, his efficiency
and his interesting personality, all made for a
friendship, the memory of which will always be a
happiness to me."
Mr. George Hart of 28 Wardour Street
(Piccadilly Circus) London W. of date, June 8th,
19 1 8, writes:
" I feel that I have lost a very dear and
valued friend in the late Mr. Pitkin. I am quite
sure his loss will be keenly felt by all who had the
privilege of knowing him."
At a meeting of the Walpole Society, held
at the house of the " Club of Odd Volumes " in
Boston, on November ninth, Nineteen Hundred
Seventeen, after a feeling tribute paid by one of
the members, to the memory of the late Albert
Hastings Pitkin, it was unanimously
VOTED that through a Committee consisting of
Messrs. Henry W. Erving and Luke Vincent
Lockwood, the Society express to Mrs. Pit-
kin its deep sorrow at the loss of its valued
associate, and its sincere sympathy with Mrs.
Pitkin in her bereavement.
The Society highly esteemed the many excellencies
of character of their late friend, and valued his
companionable qualities and his great interest in
all the aims of the Society.
It also greatly appreciated his knowledge
of Ceramic Art, and his faithful persevering study
and research into matters connected therewith,
together with his ever cheerful readiness to assist
others in its study, and to impart his information
to all earnest students.
The Walpole Society and its members, in-
dividually have sustained a heavy loss in the pass-
ing of Mr. Pitkin.
Signed Henry W. Erving,
Luke Vincent Lockwood,
for the Walpole Society.
This Resolution is beautifully engraved.
133
Steaofotums of %
^artfnrfc (Seramtr Art dfob
Whereas, it has pleased Providence to remove
from our midst, our respected friend and
Honorary member, Albert Hastings Pit-
kin, thereby leaving a vacancy in our Club
that can never be filled, therefor be it
Resolved, that we express our sense of the
high character of his attainments, his rare artistic
perceptions, his unfailing courtesy and his gener-
ous help and encouragement, to us, in our work
for the advancement of Ceramic Art, and be it
Resolved that we express to Mrs. Pitkin our pro-
found sympathy in her bereavement and the assur-
ance that his memory will always be revered
among us, and be it Resolved that a copy of these
resolutions be sent to Mrs. Pitkin, and that they be
spread upon the Minutes of the Club.
Signed Annie W. Gibson, President,
Mary A. Smith, Secretary.
November ninth, Nineteen Hundred Seventeen.
These Resolutions are very beautifully
engraved.
134
Kttwlutums of % flutttrtpal Art Soring
of
ijariforli, (Eotutrcitrui
Resolved, that the Directors of the Munic-
ipal Art Society express publicly their sense of the
deep loss, both to this Society and to Hartford,
which we have suffered in the death of Albert
Hastings Pitkin.
As Curator of the Collections in the Mor-
gan Memorial, Mr. Pitkin's thorough knowledge
of the Art treasures of our city was always gladly
placed at the services of any of our citizens, and
his enthusiastic interest in all that had to do with
the artistic life of Hartford, was of the greatest
value to this community.
His death so soon after the formal open-
ing to the public of our beautiful J. Pierpont
Morgan Art Collection, deprives us of an unique
and valuable contribution of service to our civic
life, at a time when it is most needed.
Signed William H. Honiss, President,
Leila Anderson, Secretary.
135
At a meeting of the Trustees of Wads-
worth Atheneum, held on the 17th day of Novem-
ber, 19 17, the President, having announced the
great loss which the Institution had suffered in the
death of Mr. Albert H. Pitkin, General Curator,
the following vote was passed: —
Since the last meeting of the Trustees of
Wadsworth Atheneum, the General Curator, Mr.
Albert H. Pitkin, has been taken from us, by
death.
Mr. Pitkin was interested in the Athe-
neum, long before he had any official position
here. This interest was manifested by gifts and
Loan Exhibitions, from his varied and valuable
Collections.
In 1 9 10, he was appointed Curator of the
Department of Ceramics, and while this position
was purely Honorary, he gave to it very largely
of his time and thought. He, not only himself
made important gifts and loans, but he labored,
zealously and successfully to secure the same from
others.
136
TRIBUTES 137
In 19 16, he was appointed General Cura-
tor of Wadsworth Atheneum and from that time,
he devoted himself, untiringly, to the work of his
office, and he discharged its responsibilities and
duties, with a faithfulness, which is beyond all
praise.
His remarkable attainments as a student
and collector of Early American Pottery were
recognized by all of the leading Museum author-
ities throughout the country, and he had been in-
vited to lecture on this topic during the coming
winter, before the Metropolitan Museum of Art,
New York City.
On the personal side, his death has
brought grief to all of his associates, and we
sorrow most of all, that we shall see his face here,
no more.
Resolved, that this Minute be entered on
the Records of the Atheneum and that a copy be
transmitted to his family with the assurance of the
sincerest sympathy of the Trustees of Wadsworth
Atheneum in their great bereavement.
Dr. Francis Goodwin, President,
James B. Cone, Secretary.
Albert ijasttngB Pitkin.
From the earliest settlement of New England,
the name of Pitkin has been an eminent one in the
annals of its history.
A worthy and prominent member of this family,
Albert Hastings Pitkin was born August 20, 1852
in Hartford, Connecticut, son of Albert Palmer
and Jane Ann (Hastings) Pitkin, died there Octo-
ber 14, 1917.
He was a lineal descendant of William Pitkin
who was born in England in 1635 and died
December 16, 1694. He came from England to
America in 1659 and was admitted a freeman
October 9, 1662. He was appointed in 1662 as
Prosecutor for the Colony; in 1664 appointed
Attorney General by the King; in 1675 and until
1690 was the representative of Hartford in the
Colonial Assembly; was Treasurer of the Colony
in 1676, and Commissioner to the United
Colonies; was appointed in 1676 to negotiate
peace with the Narragansett and other Indian
tribes; elected a member of the Colonial Council
140 TRIBUTES
in 1690. He was one of the principal citizens of
the town and was appointed with John Crow to
lay out the first main street and other streets on the
east side of the Connecticut river. He married in
1 66 1, Hannah Goodwin, the only daughter of
Hon. Ozias Goodwin and Mary (Woodward)
Goodwin.
Roger Pitkin, eldest child of William and Han-
nah Pitkin was born in 1662 and died November
24, 1748. He was appointed Captain of the first
Militia Company on the east side of the river and
was actively engaged with his company in the de-
fense of the town against the Indians in 1704 and
also, at other times. He owned the Covenant with
the First Church of Christ in Hartford November
22, 1685.
In 1683, he married Hannah Stanley, daughter
of Captain Caleb and Hannah (Cowles) Stanley.
The father of Captain Caleb Stanley was a passen-
ger with the Rev. Thomas Hooker when he came
to America. Roger and Hannah Pitkin were the
parents of Jonathan Pitkin who was born March
1, 1697 and married in 1728 Rebecca, a daughter
of Philip Smith of Hadley, Massachusetts.
Jonathan Pitkin, Jr., their son, was born in
1730, and died December, 1812. He married in
1760, Lucy, a daughter of Dr. Joseph and Eliza-
beth (Hollister) Steele born January 24, 1740,
and died February 20, 1804.
Ezekiel Pitkin, their second child, was born
January 26, 1763 and died May 12, 1843. Previ-
TRIBUTES I41
ous to 1807, he married Euphemia Chapman and
they were the parents of Denison Palmer Pitkin
born February 15, 1807, died July 18, 1781. He
married in 1828 Phoebe Dunham, daughter of
Benjamin Turner of Mansfield, Connecticut. She
was born July 10, 1807, and died September 7,
1866.
Albert Palmer Pitkin their son was born Feb-
ruary 27, 1829. He married November 4, 1851,
Jane Ann Hastings, a daughter of Captain Henry
and Sarah Ann (Dewey) Hastings, born Decem-
ber 8, 1828, died February 1, 1876, in Hartford,
Connecticut. Albert Palmer Pitkin and Jane Ann
(Hastings) Pitkin had three sons, Albert Hast-
ings Pitkin born August 20, 1852; md. Sarah
Howard Loomis, April 23rd, 1874. He died Oc-
tober 14th, 191 7.
Howard Seymour Pitkin born October 31,1860;
md. Nellie Bulkeley Hutchinson October 31,
1893. She died December 27, 19 16. He died
October 23, 1917.
William Taft Pitkin born April 20, 1867; md.
Nellie White Kennedy March 15, 1893.
ALBERT HASTINGS PITKIN, son of and
eldest child of Albert P. and Jane Ann (Hastings)
Pitkin was born in Hartford August 20th, 1852,
and died there October 14th, 19 17. Upon leav-
ing school, he entered the Connecticut Mutual Life
Insurance Company of Hartford and remained
with that Company until he became connected
with the Morgan Memorial. In 19 10 he was
142 TRIBUTES
appointed Curator of Ceramics in the Morgan
Memorial, Hartford, Conn., and in the fall of
19 1 6 General Curator of the Wadsworth Athe-
neum and the Morgan Memorial. For years Mr.
Pitkin was a student of, and collector of Ceramics,
specializing in Early American Pottery. In con-
nection with his work he had made extensive
travels in this country and in Europe. On one of
these trips, he visited twenty-six of the principal
museums of Europe in order to learn their meth-
ods of classification and installation.
In company with a friend, the late Dr. Edwin
A. Barber, who was director of the Pennsylvania
Museum of Philadelphia, Mr. Pitkin made a trip
to Mexico and at another time was ten months
on the Pacific coast. They together visited the
great Exposition of Mohammedan Art in Munich
in 1910.
He installed the J. Pierpont Morgan collections
in the Morgan Memorial; the Samuel P. Avery
Silver and Cloisonne collections, all the pottery in
the Pottery Room and the Furniture and Silver
Collections of Mr. George Dudley Seymour,
there.
There is perhaps, no finer collection of antique
furniture and pottery than that owned and col-
lected by Mr. Pitkin, during his life to be found
in the entire state. A portion of his collection is
on view in the Morgan Memorial of Hartford.
In addition to his pottery collections, he also
TRIBUTES 143
specialized in rare books and his library contained
many priceless volumes.
He assisted in installing many collections of
pottery in New York, Albany, Philadelphia,
Waterbury, Litchfield and New Haven.
He was a member of the First Church of Christ
in Hartford, which he joined in 1871 when Rev.
George Leon Walker was pastor there and who
was an intimate friend of Mr. Pitkin.
He was a member of the Society of Mayflower
descendants in Connecticut and several times was
a delegate to the Triennial Congress at Plymouth,
Mass. He was a member of the Jeremiah Wads-
worth Chapter, Sons of the American Revolution,
of the Connecticut Historical Society, of the Wal-
pole Society, of the National Association of Mu-
seums to which he was often sent as a dele-
gate from the Wadsworth Atheneum, to their
meetings in New York, Boston, Philadelphia,
Washington, Milwaukee and Chicago. On April
23, 1874, Mr. Pitkin married Sarah Howard
Loomis, daughter of Chester and Mary Weston
(Thayer) Loomis of Boston, Mass. The latter
was a lineal descendant of John and Priscilla
(Mullins) Alden of the Pilgrim Colony, and the
former of Joseph Loomis one of the pioneer
settlers of old Windsor, Connecticut in 1639.
Fifty acres of the old Loomis homestead has
heen devised as the building site of the Loomis In-
stitute. It is interesting to know that this piece of
land has been in the possession of the Loomis
10
144 TRIBUTES
Family, ever since it was first bought by Joseph
Loomis the first settler, February 2, 1640 in the
early settlement of the town of Old Windsor.
ilttfox
3itttox
Alsop, Joseph, 31.
Anderson, William, 31.
Avery, Samuel P., 142.
Baker, James, 31.
Barber, Dr. Edwin A.,
Hi 37> 40. 69, 78,
105, 129, 130, 142.
Barber, Enoch, 30, 32.
Beach, F. Bagnall, 27.
Beerbower, L. B., 31.
Belding, David, 93.
Bennett Brothers, 27.
Bennington, Vt., 16, 70.
Benton, George, 90.
Berger, F. V. P., 77, 96,
129, 131.
Boardman, S., 91.
Boardman, Stanley, 90.
Boardman, Thomas, 91
Boardman, T. D., 91.
Boyden, George, 93.
Brooks, Hervey, 16.
Buel, Lucretia, 16.
Buel, Jonathan, 16.
Burglin, John, 31.
Burtleman, William, 31.
Caldwell, James, 31.
Caldwell, John, 31.
Caldwell, John, Jr., 31.
Carey, Adam, 32.
Cartwright, William,
31-
Cartwright, John, 31.
Chase, L. & B. G., 97.
Clarke, Decius, 32, 34.
Cone, James B., 137.
Cone, Ralph, no.
Coxe, Dr. D., 88.
H8
INDEX
Cross, Peter, 90.
Cullien, Thomas, 32.
Cushman, Albert, 34.
Cushman, Paul, 108.
Day, Charles H., 93.
Danforth, Augustus, 32.
Dewey, 22.
Dorset, Vt., 19.
Dow, George Francis,
78, 96.
Doulton, 30.
Dyer, Walter, 41.
Eastlake Pottery, 116.
Edmunds, Barnabas, 97.
Emmons, Mrs. C. H.,
35,78.
Erving, Henry W., 78,
90, J33-
Fenton, 23, 28, 40.
Fenton, Christopher,
Webber, 18, 19, 25,
26.
Fenton, Fanny, 34.
Fenton, Louise Anna,
34.
Fillmore, Henry D.,
34, 40.
Fry, Theophile, 29, 31,
33-
Gager, 28.
Gates, Henry S., 32,
33,78.
Gilbert, Miriam, 87.
Godfrey, 34.
Godfrey, Frederic, 38.
Godfrey, Rufus, 32.
Goodale, Daniel, 88,
90, 121.
Goodwin, 16, 85, 86.
Goodwin, Ebenezer,
86, 87.
Goodwin, Dr. Francis,
I37-.
Goodwin, George T,
87. .
Goodwin, Hannah, 109.
Goodwin, Horace, 88,
90.
Goodwin, Harvey, 87.
Goodwin, Harvey B.,
87. (
Goodwin, Horace H.,
87. .
Goodwin, Isaac, 86.
Goodwin, Nathaniel,
86.
Goodwin, Ozias, 86.
Goodwin, Pitts, 87.
Goodwin, Seth, 86, 87,
88.
Goodwin, Thomas
O'Hara, 87, 88.
Goodwin, Wilbur E.,
Goodwin, William, 86.
Greatbach, Daniel, 20,
29, 33, 40.
Greenslit, Frank, 38.
INDEX
I49
Guilford, Mrs. John
L., 94.
Gunsaulus, Dr. F. W.,
94-
Hall, Henry, 18, 20,
25-
Hamlyn, George, 116.
Hancock, Frederic, 38.
Haring, David, 108.
Hastings, 92.
Hastings, Andrew, 91.
Hastings, Benjamin, 91.
Hastings, Henry, 91.
Hastings, Wellington,
93-.
Harrison, John, 20, 30,
33-
Hartford Ceramic Art
Club, 134.
Hart. George, 132.
Henne, J. S., 122.
Hews, Abram, 94, 95.
Hickmott, William J.,
78.
Hills, Dorothy, 109.
Hinman, W. S., 17.
Hollins, William, 30.
Hollis, Dr., 28.
Howland, Henry R.,
132.
Hubener, George, 105.
Hutchins, Thomas, 32.
Jeffords, J. J., 33.
Johnson, Jerome, 38.
Kendall, Miles, 96.
Keough, John, 32, 34.
Kettle, Jonathan, 96.
Keyes, Samuel, 23, 28.
Kimball, C. C, 38.
Lawton, Henry, 30.
Lawton, Joseph, 30.
Leake, Charles, 30, 32.
Leake, W. G., 30, 31,
32, 78-.
Leake, William, 30.
Leake, William L., 32.
Lear, Enoch, 31.
Leidy, John, 107.
Leigh, John, 30, 31, 32.
Loomis, Abigail, 109.
Lord, Mary, 109.
Lockwood, Luke Vin-
cent, 133.
Lyman, 28.
Lyman, A. P., 21, 25,
27.
Lyman & Fenton, 28,
'72.
Maddock, William, 31.
Mann, John, 1 16.
Marquis, Charles, 18.
McQuire, Daniel, 32.
McQuire, Patrick, 32.
McDougal, James, 32.
McDougal, Samuel, 32.
McLea, William, 31.
Molds, John, 31.
Moon, Dick, 31.
150
INDEX
Moore, Enoch, 31, 32,
34-
Moore, Henry, 32.
Moore, William, 32.
Morgan, J. P., 132.
Morgan, J. Pierpont,
130, 142.
Municipal Art Society,
135-
Nase, Johannes, 108.
New London, 117, 118,
121, 123, 124.
Nichols & Alvord, 116.
Nichols, E. L., 18.
Norton, Capt., 17.
Norton, David, 16.
Norton & Fenton, 23,
70, 71.
Norton, Edward, 18,
20, 21, 38, 42.
Norton, Edward L., 42.
Norton, Frank, 38.
Norton, John, 16, 17,
19, 20, 21, 38, 42.
Norton, Julius, 20, 42.
Norton, L., 27.
Norton, Luman, 16, 19,
23> 34. 42.
Norton, Luman, P., 42.
Norton, Louisa, 19.
Norton, Mrs. L. S., 22.
Norwalk, 120, 121,
124.
Norwich, 118, 124.
Oatman, Andrew, 78.
Osborne, Joseph, 96.
Osborne, William, 96.
Ostrander, 22.
Orcutt, Eleazer, 93.
Orcutt, W. & E., 93.
Owens, William, 31.
Park, 28.
Park, Calvin, 25, 34.
Peeler, Anson, 28.
Pierce, John, 16.
Pitkin Collection, 23,
24, 29, 35, 70, 73,
102, 103, 109.
Pitkin Glass Works,
1 10.
Pitkin, H. & J. F., 91.
Pitkin, Richard, no.
Pitkin, William T., 78,
141.
Pitkin & Woodbridge,
109, 1 1 1.
Portland, 114.
Piatt, Thomas, 31.
Pruden, John, 31.
Putnam, G. P., 41.
Reed, Joseph W., 96.
Remmy, John, 108.
Ridgways, 31.
Riddle, Charles, 32.
Riddle, Dwight, 32.
Risley, Albert, 90.
Robinson, 22.
Robinson, D. F., 90.
INDEX
151
Robinson, George, 23,
78.
Rockwood, George, 18.
Salem, 97.
Sanford, Charles, 32.
Sanders, John, 118.
Schell, Jacob, 108.
Seabridge, William, 31.
Sedman, John, 31.
Seymour Pottery, 119,
120.
Seymour, George Dud-
ley, 142.
Seymour, Israel, 108.
Seymour, Nathaniel,
84.
Seymour, O.H., 90, 91.
Sibley, 32, 34.
Silliman & Goodrich,
41.
Smith, Elbert, 92.
Souter, John, 90.
Southern Porcelain Pot-
tery, 108.
Southwick, William, 97.
Spinner, David, 107.
Stuart, Levi, 90.
Stanley, Elizabeth, 109.
Stanley, Harriet, 94.
Stanley, Rufus A., 94.
Southwick, James Chap-
man, 97.
Taney, Jacob, 108.
Thatcher, 20, 21.
Theis, Stephen, 31, 32,
33-
Tittery, Joshua, 88.
Troxel, Samuel, 124.
Tudor, Charles, 17.
Tunicliff, Joseph, 31.
Umpleby, William, 31.
U. S. Pottery, 72, 73.
Vance Faience Co., 30.
Van Loon, S. D., 93.
Wadhams, Jesse, 16.
Wadsworth Atheneum,
136.
Walpole Society, 133.
Walker, Mrs. W. B.,
22, 40, 78.
Webb, G. E., 92.
Webster, 88.
Webster, Anne, 86.
Webster, C, 88.
Webster, C. T., 90.
Webster, Henry, 91.
Webster, McCloud, 90.
WTebster, M. C, 91.
Webster & Seymour,
121.
Wells, William, 32.
White, Ralph H., 34.
Whittemore, Joseph,
96.
Wilcox, 32, 34.
Wilson, Moses, 17.
Williams, James, 38.
152
INDEX
Williams, Susan F., 87.
Williamson, Frederick
J., 50, 51, 78.
Woodbridge, 109.
Woodbridge, Esther
Wells, no.
Wood, Enoch, 95.
Woodward, Mary, 86.
Wray, Leonard, 31.
Wray, William, 31.
Cream Ware, 20, 55.
Flint Enamel, 38, 39, 40, 41, 57, 58, 59, 60,
61, 62, 63, 64, 65, 66, 72, 115, 122.
Lava, 38, 40.
Marbled, 47.
Parian Ware, 20, 24, 25, 28, 33, 35, 38, 39, 40,
41, 46, 51, 52, 53, 54, 55, S6, 57, 71, 72, 73.
Red Ware, 15, 17, 22, 42, 81, 82, 89, 98, 99.
Rockingham, 18, 19, 20, 24, 25, 28, 31, 32, 33,
34, 38, 39? 42, 43> 44, 7°-
Salt-glaze, 37.
Scrodled, 38, 47, 55, 73, 115.
Sgraffito, 104, 107, 123.
Stone-ware, 15, 22, 24, 39, 43, 86, 92, 98, 99,
108, 1 10, 120.
Tulip Ware, 104, 105.
White Granite, 38, 47, 54, 57.
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